
Browse content similar to Nightwatch. Check below for episodes and series from the same categories and more!
| Line | From | To | |
|---|---|---|---|
SHOUTING | 0:00:25 | 0:00:27 | |
GUNFIRE | 0:00:27 | 0:00:29 | |
Come on, Maria! | 0:00:29 | 0:00:33 | |
SHE SCREAMS Maria! | 0:00:30 | 0:00:33 | |
I can't swim! | 0:00:37 | 0:00:39 | |
I don't want to! | 0:00:42 | 0:00:45 | |
SHOUTING | 0:00:45 | 0:00:48 | |
Maria, come back! | 0:00:48 | 0:00:50 | |
Come back! | 0:00:51 | 0:00:53 | |
It's OK, Maria. | 0:00:54 | 0:00:57 | |
I've got you. You'll be OK. | 0:00:57 | 0:01:00 | |
HE SHOUTS: Come on! Let's get out! | 0:01:01 | 0:01:06 | |
LUKE! > | 0:01:07 | 0:01:09 | |
Swim, Maria! | 0:01:13 | 0:01:15 | |
Swim! Get your heads down! Get your heads down! | 0:01:15 | 0:01:19 | |
MARIA SCREAMS | 0:01:19 | 0:01:21 | |
MOVE IT! MOVE! | 0:01:21 | 0:01:24 | |
Come on. We can do it! | 0:01:24 | 0:01:28 | |
RAPID GUNFIRE | 0:01:26 | 0:01:28 | |
Arghhh! | 0:01:28 | 0:01:29 | |
COME ON! | 0:01:29 | 0:01:31 | |
ARGHHHHHH! | 0:01:31 | 0:01:34 | |
LU-U-U-U-U-KE! Come back! | 0:01:34 | 0:01:39 | |
Luke! | 0:01:39 | 0:01:41 | |
Come on! | 0:01:41 | 0:01:43 | |
You can do it! Swim! | 0:01:45 | 0:01:49 | |
Maria! Swim! | 0:01:47 | 0:01:49 | |
Swim, baby! | 0:01:49 | 0:01:51 | |
-Yeah! -That's it. Come on! | 0:01:51 | 0:01:53 | |
That's it! | 0:01:56 | 0:01:59 | |
Honey. Honey. Are you OK? Let's go! | 0:01:59 | 0:02:02 | |
GUNFIRE | 0:02:02 | 0:02:04 | |
THUNDERCLAP | 0:02:24 | 0:02:27 | |
BUZZ OF PHONES AND VOICES | 0:02:33 | 0:02:37 | |
I'm going to activate one chip. | 0:03:11 | 0:03:14 | |
'Our strategy will be... | 0:03:16 | 0:03:24 | |
'Don't worry. I've just sent all my research papers to printing.' | 0:03:18 | 0:03:24 | |
We've tapped into everything moving through the exchange from one phone. | 0:03:24 | 0:03:29 | |
Isolate a conversation. | 0:03:29 | 0:03:31 | |
'A billion. | 0:03:32 | 0:03:36 | |
'Dollars? Not Yen?! | 0:03:33 | 0:03:36 | |
'It's that or lose 50 billion. | 0:03:36 | 0:03:38 | |
'We can't take that. OK. | 0:03:38 | 0:03:41 | |
'I'll authorise 5 billion for discretionary buying...' | 0:03:41 | 0:03:47 | |
Buy today, get rich tomorrow! | 0:03:47 | 0:03:54 | |
What about military information? | 0:03:48 | 0:03:54 | |
For that, we need just one phone. | 0:03:50 | 0:03:54 | |
NATO, CIA, UN. Their superhighway will end right here. | 0:03:53 | 0:03:58 | |
Now, show me Phase Two. | 0:04:02 | 0:04:04 | |
So soon? | 0:04:04 | 0:04:08 | |
Show me. | 0:04:06 | 0:04:08 | |
THUNDER | 0:04:08 | 0:04:10 | |
'..Hong Kong. I've got a bid of 51. | 0:04:10 | 0:04:13 | |
'I've got a bid of 51. Just give me today's high.' | 0:04:13 | 0:04:17 | |
'Give me 2,000. ARGHHHHH!' | 0:04:17 | 0:04:20 | |
EXCITED SHOUTING | 0:04:20 | 0:04:23 | |
Total information meltdown! | 0:04:27 | 0:04:30 | |
Anywhere we have a phone! | 0:04:30 | 0:04:32 | |
Now, we launch the satellite. | 0:04:37 | 0:04:40 | |
THUNDER | 0:04:40 | 0:04:42 | |
'Yesterday's meltdown of the Hong Kong Stock Exchange | 0:04:43 | 0:04:47 | |
'roared through Wall Street like...' | 0:04:47 | 0:04:52 | |
I can feel the panic. | 0:04:49 | 0:04:52 | |
'The Dow fell 1,000 points. A broker sums it up. | 0:04:52 | 0:04:56 | |
'Once Joe Average thinks the market is out of control, they want out. | 0:04:55 | 0:05:01 | |
'Any price. It's sell, sell, sell, | 0:05:01 | 0:05:03 | |
'but nobody's buying.' | 0:05:03 | 0:05:10 | |
This is a nervous group. | 0:05:05 | 0:05:10 | |
'What about the small investor? | 0:05:07 | 0:05:10 | |
'We lost everything. Our kids' savings....' | 0:05:10 | 0:05:13 | |
Who would think a thunderstorm in Hong Kong could make such a mess? | 0:05:13 | 0:05:20 | |
It's more than a thunderstorm. | 0:05:17 | 0:05:20 | |
'Trading in Hong Kong is suspended.' | 0:05:20 | 0:05:28 | |
Sir. We lost communication with Graham and Sheen at 0700. | 0:05:22 | 0:05:28 | |
What about the diplomat's children? | 0:05:27 | 0:05:33 | |
-Not a word. -Thank you. | 0:05:30 | 0:05:33 | |
TV: 'Amid the global financial chaos, good news for Amsterdam. | 0:05:33 | 0:05:39 | |
'After two years on a world tour,' | 0:05:39 | 0:05:41 | |
Rembrandt's Night Watch finally returns to Amsterdam's Rijksmuseum. | 0:05:41 | 0:05:47 | |
From tomorrow, the majestic piece | 0:05:47 | 0:05:50 | |
'will again be on exhibition.' | 0:05:50 | 0:05:52 | |
The finest example of baroque chiaroscuro ever created! | 0:05:52 | 0:05:58 | |
Oh, what a magnificent piece! | 0:05:58 | 0:06:01 | |
(Oh, I have to throw up!) | 0:06:01 | 0:06:04 | |
Oh! | 0:06:08 | 0:06:11 | |
Ah! | 0:06:11 | 0:06:13 | |
-Stephanie? -Yes? | 0:06:23 | 0:06:25 | |
Bring me Abrahm's Rembrandt. | 0:06:25 | 0:06:29 | |
Yes, Dr Armond. | 0:06:26 | 0:06:29 | |
What is it, Louis? | 0:06:29 | 0:06:34 | |
The drummer! | 0:06:31 | 0:06:34 | |
What do you mean? | 0:06:34 | 0:06:38 | |
Maybe it's his drum. | 0:06:35 | 0:06:38 | |
Page 347, please. | 0:06:38 | 0:06:44 | |
It looks fine, to me. | 0:06:39 | 0:06:44 | |
-Yeah. -Ah-ha! | 0:06:41 | 0:06:44 | |
What colour is this dot? | 0:06:44 | 0:06:47 | |
Blue. | 0:06:45 | 0:06:47 | |
Yes. And this dot? | 0:06:47 | 0:06:50 | |
Let's see what the X-ray machine shows. | 0:06:53 | 0:06:57 | |
Miles? This is not the Night Watch. | 0:06:58 | 0:07:02 | |
This is a fake. | 0:07:02 | 0:07:04 | |
Thanks. | 0:07:18 | 0:07:21 | |
Not one country will help. | 0:07:37 | 0:07:39 | |
How can that be, Inspector? | 0:07:39 | 0:07:46 | |
They don't want the blame. | 0:07:41 | 0:07:46 | |
It should never have left here. | 0:07:43 | 0:07:46 | |
Do I have to guard a painting, day and night, for two years? | 0:07:46 | 0:07:52 | |
I would have, | 0:07:50 | 0:07:52 | |
if it was my idea to launch a tour. | 0:07:52 | 0:07:59 | |
-Gentlemen, calm down. We're getting in experts from the UN. -The UN?! | 0:07:54 | 0:07:59 | |
This isn't about terrorism. | 0:07:59 | 0:08:02 | |
Because our intelligence was wrong. | 0:08:04 | 0:08:07 | |
The kids were hidden in the village. | 0:08:09 | 0:08:14 | |
You got them out. All of them. | 0:08:11 | 0:08:14 | |
-Yeah. -They're alive, because of you. | 0:08:14 | 0:08:19 | |
Yeah. | 0:08:17 | 0:08:19 | |
How do you feel about that? | 0:08:19 | 0:08:21 | |
You want me to say the mission was a success. OK. It was a success. | 0:08:23 | 0:08:29 | |
Opening up to your feelings | 0:08:31 | 0:08:34 | |
is nothing to be ashamed about, Michael. | 0:08:34 | 0:08:37 | |
You want to work, Michael? | 0:08:37 | 0:08:45 | |
I don't think that would be wise. | 0:08:39 | 0:08:45 | |
Make a note of that. Michael? | 0:08:41 | 0:08:45 | |
I don't know. | 0:08:50 | 0:08:55 | |
Detective work. No combat. | 0:08:52 | 0:08:55 | |
Expense accounts... | 0:08:54 | 0:09:01 | |
Something to keep me busy? | 0:08:55 | 0:09:01 | |
-Exactly. It will be with Carver. -Ah. | 0:08:58 | 0:09:01 | |
I can't authorise field work before a psychological evaluation. | 0:09:01 | 0:09:07 | |
Thank you. Make a note of that, too. | 0:09:07 | 0:09:10 | |
Will this job be cushy? | 0:09:10 | 0:09:16 | |
-You could say that. -Travel? | 0:09:11 | 0:09:16 | |
Here and there. | 0:09:13 | 0:09:16 | |
Sabrina Carver, you said? | 0:09:19 | 0:09:21 | |
I did. | 0:09:21 | 0:09:24 | |
Hm! | 0:09:24 | 0:09:26 | |
Thank you. Let's go. | 0:09:30 | 0:09:32 | |
It's not Sabrina, you know. | 0:09:43 | 0:09:46 | |
Of course not! | 0:09:46 | 0:09:52 | |
No, I mean it. I couldn't stand another moment with that shrink. | 0:09:47 | 0:09:52 | |
KNOCK AT DOOR | 0:09:52 | 0:09:56 | |
Come on in. | 0:09:54 | 0:09:56 | |
-Yes, sir? -Carver, what do you know about Rembrandt's Night Watch? | 0:09:56 | 0:10:01 | |
The Company of Capt Frans Banning Cocq and Lt Willem van Ruytenburch. | 0:10:01 | 0:10:07 | |
Commissioned in 1640. Completed in 1642. | 0:10:07 | 0:10:10 | |
I know a little bit about it, sir. | 0:10:10 | 0:10:13 | |
Hi, Michael. | 0:10:13 | 0:10:15 | |
-Hello, Sabrina. -How are you? | 0:10:16 | 0:10:20 | |
Not bad. You cut your hair. | 0:10:18 | 0:10:20 | |
Oh, yeah! | 0:10:20 | 0:10:22 | |
Look, I'm really sorry about what happened. | 0:10:23 | 0:10:27 | |
I know it must be hard for you. | 0:10:30 | 0:10:33 | |
You got the kids out. | 0:10:32 | 0:10:35 | |
I've already heard that one. | 0:10:35 | 0:10:38 | |
I've been thinking of teaming you two up. Any objections, Carver? | 0:10:38 | 0:10:43 | |
No. | 0:10:43 | 0:10:45 | |
Excellent. Night Watch has been stolen and a forgery substituted. | 0:10:45 | 0:10:50 | |
Find the original. Start at the Rijksmuseum. | 0:10:50 | 0:10:54 | |
This time, Carver is in command. | 0:10:54 | 0:10:57 | |
Nick, just a moment! | 0:10:57 | 0:11:04 | |
Her art expertise tips the scales. | 0:10:59 | 0:11:04 | |
-OK. -You could see that psychologist. | 0:11:01 | 0:11:04 | |
Here. | 0:11:04 | 0:11:06 | |
Special Services will fill you in. | 0:11:07 | 0:11:14 | |
It does more than tell the time? | 0:11:09 | 0:11:14 | |
-Indeed, it does. -Oh, yeah! | 0:11:11 | 0:11:14 | |
Dick Tracey to chief. See? I'm still a fun-loving guy! | 0:11:14 | 0:11:19 | |
Yeah. That's what I'm afraid of. | 0:11:19 | 0:11:25 | |
Your hair looks good, by the way. | 0:11:21 | 0:11:25 | |
Boss! | 0:11:25 | 0:11:27 | |
From our X-ray lab, this is what is underneath it. | 0:11:36 | 0:11:40 | |
A real old painting? | 0:11:40 | 0:11:44 | |
Yes. 17th century Dutch. | 0:11:41 | 0:11:44 | |
A landscape. | 0:11:44 | 0:11:46 | |
We rarely sample the paint. It's too destructive. | 0:11:46 | 0:11:50 | |
Forgers generally use an old canvas as a base, | 0:11:50 | 0:11:54 | |
hoping to pass a cursory analysis. | 0:11:54 | 0:11:57 | |
Who owned the original painting? | 0:11:57 | 0:12:04 | |
It was purchased at Sotheby's and stolen while being transported. | 0:11:59 | 0:12:04 | |
Gosh! This is an amazing forgery. | 0:12:06 | 0:12:09 | |
What Dutch craftsmen are known for. | 0:12:09 | 0:12:15 | |
Indeed. | 0:12:11 | 0:12:15 | |
But the paint is from the Far East. | 0:12:12 | 0:12:15 | |
Meaning? | 0:12:15 | 0:12:21 | |
Dutch painters use European paint. | 0:12:15 | 0:12:21 | |
-Not necessarily. -Whatever! | 0:12:18 | 0:12:21 | |
All this happened because Miles insisted on the tour. | 0:12:21 | 0:12:27 | |
Louis, maybe the painting | 0:12:24 | 0:12:27 | |
was swapped before the tour. | 0:12:27 | 0:12:29 | |
Impossible! I would have noticed. | 0:12:29 | 0:12:33 | |
I would have noticed. And he knows it! | 0:12:41 | 0:12:45 | |
Miss Carver, we catalogue our local artists. You can search our slides | 0:12:45 | 0:12:50 | |
for the forger. | 0:12:50 | 0:12:56 | |
I'd be glad to. Thank you. | 0:12:51 | 0:12:56 | |
-I'll arrange it. -Great. | 0:12:52 | 0:12:56 | |
Yes, well... Quite a pair, our boys, aren't they? | 0:12:56 | 0:13:00 | |
They're so enthusiastic. | 0:13:00 | 0:13:04 | |
Yeah. So am I. So am I. | 0:13:01 | 0:13:04 | |
The guy who bought this landscape lives in Amsterdam. | 0:13:04 | 0:13:10 | |
-Lemmer's a dealer. -Art? | 0:13:08 | 0:13:10 | |
Heroin. He's been either pushing or in prison for the last 20 years. | 0:13:10 | 0:13:18 | |
-Which is he now? -Let's find out. | 0:13:15 | 0:13:18 | |
Hi. | 0:13:30 | 0:13:32 | |
Fascinating, isn't it? | 0:13:32 | 0:13:38 | |
Yeah. How many images do you have? | 0:13:33 | 0:13:38 | |
Over a million. | 0:13:36 | 0:13:38 | |
Oh, great. | 0:13:38 | 0:13:43 | |
-I'll leave you, now. Bye bye. -Bye. | 0:13:40 | 0:13:43 | |
Oh! | 0:13:47 | 0:13:48 | |
Lemmer, the guy who bought the painting, lives here. | 0:13:48 | 0:13:53 | |
It's not over his mantlepiece! I'll poke around. | 0:13:53 | 0:13:57 | |
We don't have a warrant. | 0:13:57 | 0:14:00 | |
I know that. | 0:13:58 | 0:14:00 | |
OK. You'd better not be here. I'll see you later. | 0:14:00 | 0:14:04 | |
No, no, no, no, no! | 0:14:14 | 0:14:16 | |
I'll handle it myself! | 0:14:16 | 0:14:19 | |
# Sugar | 0:15:08 | 0:15:10 | |
# Oh, honey, honey | 0:15:10 | 0:15:13 | |
# I am your candy girl | 0:15:14 | 0:15:18 | |
# And you've got me wanting you... # | 0:15:18 | 0:15:21 | |
RAP INTERLUDE | 0:15:21 | 0:15:24 | |
# Sugar | 0:15:48 | 0:15:50 | |
# Oh, honey, honey... # | 0:15:50 | 0:15:54 | |
Hi. | 0:15:52 | 0:15:54 | |
I'm looking for this big painting... | 0:15:54 | 0:15:58 | |
Ooohhh! | 0:15:58 | 0:16:00 | |
Ahhhhhhhh! | 0:16:00 | 0:16:02 | |
# Honey | 0:16:04 | 0:16:07 | |
# Oh, sugar, sugar | 0:16:07 | 0:16:10 | |
# I am your candy girl | 0:16:11 | 0:16:14 | |
# And you've got me wanting you... # | 0:16:14 | 0:16:17 | |
RAP INTERLUDE | 0:16:19 | 0:16:22 | |
ARGHHHHH! | 0:16:46 | 0:16:48 | |
Arghhh! | 0:16:49 | 0:16:51 | |
OHHH! | 0:16:51 | 0:16:53 | |
What are you doing here? | 0:16:58 | 0:17:01 | |
ME?! | 0:17:01 | 0:17:06 | |
Who is this guy? | 0:17:02 | 0:17:06 | |
What are you doing on his boat if you don't know who the hell he is? | 0:17:06 | 0:17:14 | |
I ask the questions around here! | 0:17:10 | 0:17:14 | |
Oh, gee. He cut me. | 0:17:14 | 0:17:17 | |
Michael! | 0:17:16 | 0:17:17 | |
You're hurt! | 0:17:17 | 0:17:19 | |
Don't fuss. Please don't fuss. | 0:17:19 | 0:17:23 | |
Michael! | 0:17:21 | 0:17:23 | |
This job's supposed to be easy. | 0:17:24 | 0:17:26 | |
MOTORBIKE APPROACHES | 0:17:26 | 0:17:31 | |
I wanna talk to her. | 0:17:29 | 0:17:31 | |
You burglarised his place. He's the one who can press charges. | 0:17:41 | 0:17:46 | |
And you did it on my watch. | 0:17:46 | 0:17:48 | |
If you just... | 0:17:48 | 0:17:53 | |
At least we know Miles met Lemmer. | 0:17:49 | 0:17:53 | |
Lemmer bought the painting and had it stolen. | 0:17:53 | 0:17:58 | |
-No. -I wanna tail this guy. | 0:17:56 | 0:17:58 | |
You'd better not let them know. | 0:17:58 | 0:18:01 | |
If we generate enough paperwork, Lemmer can't make trouble. | 0:18:01 | 0:18:05 | |
Can I just ask you... | 0:18:05 | 0:18:09 | |
Come now! | 0:18:06 | 0:18:09 | |
Mike, you look so mad. Maybe you should talk to him! | 0:18:09 | 0:18:14 | |
BLEEPING | 0:18:17 | 0:18:19 | |
HE WHISTLES FRENCH NATIONAL ANTHEM | 0:18:37 | 0:18:41 | |
Are we done? | 0:18:45 | 0:18:48 | |
WATCH BLEEPS | 0:18:46 | 0:18:48 | |
Hey. Do you think I enjoy staying late? | 0:18:48 | 0:18:51 | |
WATCH BLEEPS | 0:18:51 | 0:18:54 | |
BLEEPING STOPS | 0:18:54 | 0:18:56 | |
BLEEPING | 0:19:03 | 0:19:07 | |
Mike. He's home. | 0:19:07 | 0:19:10 | |
Glad you're still on the job! | 0:19:10 | 0:19:13 | |
CREAKING ELECTRONIC SOUNDS | 0:19:21 | 0:19:24 | |
RADIO BLEEPS | 0:19:53 | 0:19:56 | |
SOBBING | 0:20:23 | 0:20:26 | |
Oh, man. Who did this to you? | 0:20:34 | 0:20:37 | |
Lemmer? | 0:20:39 | 0:20:42 | |
He's gone. | 0:20:44 | 0:20:46 | |
SHE SOBS | 0:20:46 | 0:20:48 | |
Where did he go? | 0:20:48 | 0:20:51 | |
I don't know. | 0:20:51 | 0:20:57 | |
Hey? | 0:20:52 | 0:20:57 | |
He came home from the cops, mad. | 0:20:53 | 0:20:57 | |
Oh, Jesus Christ. I'm sorry. Come on. | 0:21:00 | 0:21:04 | |
Let's take you to the hospital. There you go. | 0:21:04 | 0:21:07 | |
'Brokerage firms are still staggering | 0:21:16 | 0:21:20 | |
'after the Hong Kong massacre. | 0:21:20 | 0:21:22 | |
'Stock prices continued falling, with no bottom in sight.' | 0:21:22 | 0:21:27 | |
BLEEPING Yup? | 0:21:27 | 0:21:30 | |
Michael, go to visual. | 0:21:30 | 0:21:33 | |
Mmm. I see you. | 0:21:33 | 0:21:36 | |
'We may have a lead. | 0:21:36 | 0:21:38 | |
'In every city the Night Watch toured, the museum paid.' | 0:21:38 | 0:21:43 | |
Every city but Hong Kong. There, | 0:21:43 | 0:21:46 | |
Martin Shrater, art connoisseur, | 0:21:46 | 0:21:49 | |
'businessman, picked up the whole ticket.' | 0:21:49 | 0:21:53 | |
American? | 0:21:53 | 0:21:57 | |
'Yeah. What about your suspects?' | 0:21:54 | 0:21:57 | |
Maybe. Gotta go. How're you doing? | 0:21:57 | 0:21:59 | |
OK. With painkillers. | 0:21:59 | 0:22:02 | |
How come you're still here? | 0:22:04 | 0:22:10 | |
I thought you might like a cup of coffee. Come on. | 0:22:05 | 0:22:10 | |
BLEEPING | 0:22:16 | 0:22:18 | |
Let me ask you a question. Has he done this to you before? | 0:22:38 | 0:22:43 | |
I'm not going anywhere with you. | 0:22:43 | 0:22:50 | |
OK. We'll just talk here. | 0:22:45 | 0:22:50 | |
I don't talk to cops. I'll go home. | 0:22:46 | 0:22:50 | |
If you're looking for Lemmer, he's not there. The cops picked him up. | 0:22:50 | 0:22:55 | |
What for? | 0:22:55 | 0:22:59 | |
Assault. I called it in. | 0:22:57 | 0:22:59 | |
-Leave me alone. -Jennifer! | 0:22:59 | 0:23:04 | |
-Get out of my face! -JENNIFER! | 0:23:01 | 0:23:04 | |
CLOCK CHIMES | 0:23:09 | 0:23:11 | |
GUNSHOTS | 0:23:32 | 0:23:34 | |
MAN SHOUTS IN DUTCH | 0:23:37 | 0:23:39 | |
WOMAN SHOUTS | 0:23:41 | 0:23:43 | |
WOMAN SCREAMS IN TERROR | 0:23:50 | 0:23:53 | |
No! Oh! | 0:23:54 | 0:23:57 | |
Hey! Come here! | 0:23:57 | 0:23:59 | |
Call an ambulance! | 0:24:01 | 0:24:03 | |
GUN CLICKS | 0:24:10 | 0:24:12 | |
Oh! | 0:24:12 | 0:24:14 | |
Hey! Oh! | 0:24:44 | 0:24:46 | |
Move! | 0:25:19 | 0:25:21 | |
I just want to talk, all right? | 0:26:12 | 0:26:14 | |
Arghhhh! | 0:26:15 | 0:26:17 | |
Ha ha! Oh! Oh! Oh! | 0:26:17 | 0:26:20 | |
Arghhh! | 0:26:23 | 0:26:27 | |
Ooohhhh! | 0:26:28 | 0:26:30 | |
Arghhhhh! | 0:26:37 | 0:26:40 | |
What happened next? | 0:26:57 | 0:27:00 | |
I don't remember. | 0:27:00 | 0:27:03 | |
You don't remember doing this? | 0:27:03 | 0:27:05 | |
Well, I didn't do that. | 0:27:05 | 0:27:08 | |
You are sure? | 0:27:08 | 0:27:15 | |
-Yes. -What happened to your knuckles? | 0:27:09 | 0:27:15 | |
-I was working. -What work? | 0:27:12 | 0:27:15 | |
This guy is not going to talk. | 0:27:15 | 0:27:17 | |
< That's what I said. | 0:27:17 | 0:27:20 | |
He might. | 0:27:20 | 0:27:22 | |
< I'm going for a cup of coffee. | 0:27:22 | 0:27:24 | |
I'm sorry I wasn't there for you. | 0:27:27 | 0:27:30 | |
So am I. | 0:27:30 | 0:27:33 | |
Look, it's no big deal. | 0:27:37 | 0:27:41 | |
-Yes, it is. -Don't start that. | 0:27:38 | 0:27:41 | |
I mean, it's not like what happened at the beach with Luke. OK? | 0:27:41 | 0:27:46 | |
-Yeah. -Not at all. -Yeah, sure. | 0:27:46 | 0:27:49 | |
Sure. It's just that... um... | 0:27:50 | 0:27:53 | |
It's just that I feel I... | 0:27:55 | 0:27:57 | |
should have been there. I should have done more. | 0:27:57 | 0:28:01 | |
I should have gotten closer with the boat. I... | 0:28:01 | 0:28:06 | |
Nobody could have saved Luke if you couldn't have. | 0:28:05 | 0:28:10 | |
Someday, you'll know that, too. | 0:28:12 | 0:28:16 | |
Hey. | 0:28:17 | 0:28:19 | |
Come in. It's OK. He can't see you. | 0:28:19 | 0:28:23 | |
So what? She fell. We didn't fight. | 0:28:23 | 0:28:26 | |
She fell! She's a stupid, clumsy twit. | 0:28:26 | 0:28:32 | |
We're told she has scars for life. | 0:28:28 | 0:28:32 | |
Who gives a damn? | 0:28:32 | 0:28:34 | |
You don't care that she ended up in the hospital? | 0:28:34 | 0:28:38 | |
No, why should I? | 0:28:38 | 0:28:41 | |
Why does the waitress at the coffee shop say you told her... | 0:28:41 | 0:28:48 | |
I saw what he did with the painting. | 0:28:45 | 0:28:48 | |
Isn't that what you want to know? | 0:28:48 | 0:28:52 | |
Yes. | 0:28:50 | 0:28:52 | |
After it was nicked, he gave it to some guy. | 0:28:53 | 0:28:57 | |
Who? | 0:28:58 | 0:29:03 | |
Don't know. He lived in Hong Kong. | 0:29:00 | 0:29:03 | |
TRADITIONAL FAR EASTERN MUSIC | 0:29:07 | 0:29:10 | |
Thank you. | 0:29:23 | 0:29:25 | |
Welcome to the Regent Hong Kong, Mr and Mrs Graham. | 0:29:29 | 0:29:33 | |
Thank you. (How do they know us?) | 0:29:33 | 0:29:36 | |
Class. | 0:29:36 | 0:29:38 | |
Hi. Did you have a pleasant flight, Mrs Graham? | 0:29:38 | 0:29:42 | |
Yes, thank you. | 0:29:42 | 0:29:48 | |
Excellent. The manager reserved you our honeymoon suite. | 0:29:43 | 0:29:48 | |
Isn't that wonderful, darling? | 0:29:48 | 0:29:53 | |
-Thank you very much. -Yes. | 0:29:50 | 0:29:53 | |
Oh, my sweet. What a lavish room. | 0:29:57 | 0:30:00 | |
I can't wait to be in your loving arms. | 0:30:00 | 0:30:06 | |
-Mike, cool it. -Is that an order? | 0:30:03 | 0:30:06 | |
Cauldwell created the perfect cover. | 0:30:06 | 0:30:09 | |
Whatever you say, dear. | 0:30:09 | 0:30:15 | |
It lets us work together and explains our trip. | 0:30:11 | 0:30:15 | |
It doesn't explain where you're sleeping! | 0:30:15 | 0:30:19 | |
'Yeah. Yes, very nice. | 0:30:22 | 0:30:25 | |
'Let me see the other one, next to it. That's it. | 0:30:25 | 0:30:30 | |
'Oh. Uh-huh. That's good.' | 0:30:30 | 0:30:32 | |
They're both lovely. | 0:30:32 | 0:30:38 | |
WATCH BLEEPS Excuse me a moment. | 0:30:34 | 0:30:38 | |
'Michael. Mikie.' | 0:30:38 | 0:30:41 | |
Yup? | 0:30:39 | 0:30:41 | |
Your watch is on. | 0:30:41 | 0:30:43 | |
Uh-huh. | 0:30:44 | 0:30:48 | |
What are you doing? | 0:30:45 | 0:30:48 | |
I'm a guy on honeymoon. | 0:30:50 | 0:30:54 | |
'You're getting a chaperon!' | 0:30:51 | 0:30:54 | |
It's not necessary, I promise you. | 0:30:54 | 0:31:02 | |
You just need to avoid the Hong Kong police, to keep things greased. | 0:30:56 | 0:31:02 | |
Meet Myra Tang, your local CIA connection. | 0:31:02 | 0:31:06 | |
'Myra Tang. Hong Kong office.' | 0:31:08 | 0:31:11 | |
Easy on the eyes, eh? | 0:31:11 | 0:31:18 | |
One identity at a time! | 0:31:12 | 0:31:18 | |
-Yes, sir. -'I'll see you tomorrow.' | 0:31:15 | 0:31:18 | |
Martin Shrater's. | 0:31:24 | 0:31:26 | |
Wow! What will he do when the red Chinese take over in 1997? | 0:31:32 | 0:31:37 | |
Good question. Stay, and trust the communists or move to safer ground? | 0:31:37 | 0:31:42 | |
Have you been inside, Myra? | 0:31:42 | 0:31:47 | |
Yeah. Parties. Art, everywhere. | 0:31:44 | 0:31:47 | |
But no Night Watch? | 0:31:47 | 0:31:55 | |
Sure(!) It probably has a sign: "Stolen from the Rijksmuseum". | 0:31:49 | 0:31:55 | |
Hey. He's the only lead I can offer. | 0:31:55 | 0:31:57 | |
OK. Maybe you two girls should knock on the door. | 0:31:57 | 0:32:01 | |
I'll introduce you at his casino. | 0:32:01 | 0:32:04 | |
You can do that? | 0:32:04 | 0:32:07 | |
Being the lottery girl does have its perks. | 0:32:07 | 0:32:11 | |
Wait a minute! You think this guy's gonna show us his stolen painting? | 0:32:10 | 0:32:17 | |
Tell me if you get a better idea. | 0:32:14 | 0:32:17 | |
OK. Fine. | 0:32:17 | 0:32:21 | |
Good. | 0:32:19 | 0:32:21 | |
INAUDIBLE CONVERSATION | 0:32:32 | 0:32:36 | |
Mike. This is Mao Yixin. | 0:32:36 | 0:32:38 | |
Hi. I'm Graham. | 0:32:38 | 0:32:42 | |
Call me Tim. You winning, Mike? | 0:32:39 | 0:32:42 | |
Just pocket change. Myra tells me you run this place. It's very nice. | 0:32:42 | 0:32:49 | |
Thank you. | 0:32:46 | 0:32:49 | |
This is a friend from my modelling days. Sabrina Carver. | 0:32:49 | 0:32:53 | |
It's Graham, now. Sabrina Graham. | 0:32:53 | 0:32:58 | |
Ah. Newlyweds. | 0:32:55 | 0:32:58 | |
-Mm-hm. -Yes. Two days ago. | 0:32:58 | 0:33:05 | |
Then we would like to offer you 80 Hong Kong dollars of good luck! | 0:33:00 | 0:33:05 | |
Thanks. (That's about ten bucks!) | 0:33:09 | 0:33:12 | |
What a charmer, eh? | 0:33:12 | 0:33:14 | |
Martin Shrater. | 0:33:15 | 0:33:17 | |
Oh, yeah. | 0:33:19 | 0:33:21 | |
Well, that would make it show time, girls! Shall we? | 0:33:21 | 0:33:26 | |
What's the bet limit? | 0:33:30 | 0:33:33 | |
Five thousand US. | 0:33:31 | 0:33:33 | |
Five thousand. | 0:33:36 | 0:33:38 | |
Cauldwell won't cover you. This is your money. | 0:33:38 | 0:33:42 | |
Seventeen. | 0:33:48 | 0:33:50 | |
Hit me. | 0:33:50 | 0:33:53 | |
Nineteen. | 0:33:51 | 0:33:53 | |
House has a natural. | 0:33:54 | 0:33:56 | |
Shall we up the stakes? | 0:34:01 | 0:34:08 | |
Mike. Are you kidding? You already lost 5,000. | 0:34:02 | 0:34:08 | |
Shall we say 10,000? | 0:34:08 | 0:34:10 | |
How about a quarter million? | 0:34:12 | 0:34:15 | |
He's put Shrater on the spot. | 0:34:22 | 0:34:25 | |
(The customer with a moustache wants to bet 250,000.) | 0:34:28 | 0:34:32 | |
You want to bet 250,000 on one hand? | 0:34:32 | 0:34:36 | |
That's right. | 0:34:37 | 0:34:39 | |
Myra? | 0:34:40 | 0:34:46 | |
This is Mike Graham. His wife, Sabrina, is an old friend. | 0:34:41 | 0:34:46 | |
I'm good for it. | 0:34:49 | 0:34:52 | |
All right. One against the bank. | 0:34:56 | 0:35:00 | |
MIKE CLEARS HIS THROAT | 0:34:58 | 0:35:00 | |
Save the lecture, just wish me luck. | 0:35:02 | 0:35:05 | |
You know that I do! | 0:35:05 | 0:35:08 | |
Thank you. | 0:35:08 | 0:35:10 | |
A glass of water please, and a vodka martini waiting over there. Thanks. | 0:35:10 | 0:35:16 | |
The game is Blackjack. House rules. Mr Graham's bet is 250,000. | 0:35:16 | 0:35:23 | |
BUZZ OF EXCITEMENT | 0:35:23 | 0:35:25 | |
Eight. | 0:35:34 | 0:35:36 | |
Fifteen. | 0:35:36 | 0:35:39 | |
He could pull a five-card trick. | 0:35:39 | 0:35:45 | |
Meaning? | 0:35:41 | 0:35:45 | |
It would beat the house. | 0:35:43 | 0:35:45 | |
Hit me. | 0:35:54 | 0:35:56 | |
SPECTATORS GASP | 0:35:58 | 0:36:00 | |
One. | 0:36:00 | 0:36:02 | |
Er, wait. Um... | 0:36:02 | 0:36:04 | |
I'm gonna need another card. | 0:36:05 | 0:36:12 | |
For six cards under twenty-one, the house pays double. | 0:36:07 | 0:36:12 | |
The dealer gives me the sixth card face down. | 0:36:12 | 0:36:15 | |
The house plays its hand out. You have no option | 0:36:15 | 0:36:19 | |
but to go for a six-card trick. | 0:36:19 | 0:36:22 | |
Should the house bust, and my card is six or more, I pay you 250,000. | 0:36:22 | 0:36:28 | |
If the house busts and my last card is five or under... | 0:36:30 | 0:36:36 | |
..you pay me out. | 0:36:38 | 0:36:41 | |
Pay you out 1 million? | 0:36:43 | 0:36:45 | |
Done. | 0:36:46 | 0:36:48 | |
The house is bust. | 0:37:08 | 0:37:11 | |
Four of hearts. Mr Graham's total is 20. The house owes you 1 million. | 0:37:35 | 0:37:42 | |
APPLAUSE | 0:37:42 | 0:37:44 | |
I'm Shrater. It's my million you've just won! | 0:37:44 | 0:37:48 | |
Now, let me see. Myra, which is the most needy charity in town? | 0:37:48 | 0:37:53 | |
The Royal Orphans Fund. | 0:37:53 | 0:37:59 | |
There you have it. Give my winnings to the orphans. | 0:37:55 | 0:37:59 | |
Unbelievable. | 0:37:59 | 0:38:04 | |
Well, I made my fortune. Auto parts. | 0:38:00 | 0:38:04 | |
A little stock racing on the side. | 0:38:04 | 0:38:06 | |
Always happy to have more sponsors. | 0:38:06 | 0:38:14 | |
"Blue Grass Auto Parts." Kentucky? | 0:38:08 | 0:38:14 | |
Entire south. Started in Kentucky. | 0:38:11 | 0:38:14 | |
I'm from Indiana. | 0:38:14 | 0:38:18 | |
I won't tell anybody! | 0:38:15 | 0:38:18 | |
What would you have told Cauldwell if you lost all that money? | 0:38:32 | 0:38:37 | |
(What if Shrater has us under surveillance?) | 0:38:40 | 0:38:43 | |
I mean, how do you tell your best player | 0:38:47 | 0:38:50 | |
that you lost all that money on your honeymoon?! | 0:38:50 | 0:38:54 | |
I ain't gonna think about it because it didn't happen. | 0:38:54 | 0:38:58 | |
Mmmm. Nice buns. | 0:38:58 | 0:39:01 | |
Baby, you look good tonight. You look hot. Mmm. Yes, yes, yes. | 0:39:02 | 0:39:07 | |
Nice big, bouncy bed and everything. | 0:39:07 | 0:39:10 | |
You're going to slip into something cool, now. | 0:39:10 | 0:39:14 | |
Michael, I admit it's a turn-on, | 0:39:18 | 0:39:21 | |
but I'm really pretty tired. | 0:39:21 | 0:39:24 | |
You're tired, darling? I feel very... Very kind of up, and happy. | 0:39:24 | 0:39:29 | |
Michael, I'm actually really tired. | 0:39:29 | 0:39:32 | |
Yes. So... I must say, Hong Kong is a little sweaty, don't you think? | 0:39:32 | 0:39:38 | |
Yes. | 0:39:38 | 0:39:40 | |
I'm really very tired. | 0:39:41 | 0:39:46 | |
You're very tired? I feel good. | 0:39:43 | 0:39:46 | |
(Ooh! Socks!) I feel... | 0:39:46 | 0:39:48 | |
..very, very awake! | 0:39:49 | 0:39:52 | |
Good. Relaxed. | 0:39:54 | 0:39:56 | |
Yes. | 0:39:58 | 0:40:00 | |
Oh, baby! | 0:40:00 | 0:40:02 | |
Baby, baby! It's the PJs again! Ooh! | 0:40:02 | 0:40:06 | |
What is it about those PJs that gets me so hot? | 0:40:06 | 0:40:09 | |
My good luck(?) | 0:40:10 | 0:40:13 | |
In you get, honeybunch. I'm all yours. I'm waiting. Oh! | 0:40:14 | 0:40:20 | |
I'll get the light. | 0:40:20 | 0:40:26 | |
No! Leave it on. | 0:40:21 | 0:40:26 | |
Michael. Are you crazy?! | 0:40:22 | 0:40:26 | |
I don't think so. | 0:40:26 | 0:40:30 | |
-I'll get the light. -I like it on. | 0:40:27 | 0:40:30 | |
Oohhh! | 0:40:30 | 0:40:32 | |
Very boisterous, my darling. Very boisterous. Oohhh! | 0:40:32 | 0:40:36 | |
Oh, darling. | 0:40:36 | 0:40:38 | |
SPRINGS CREAK | 0:40:59 | 0:41:01 | |
Ooh, Sabrina! | 0:41:02 | 0:41:04 | |
Oh! Oh, darling! Oh! | 0:41:04 | 0:41:06 | |
SPRINGS CREAK | 0:41:06 | 0:41:08 | |
Michael, shhhh! | 0:41:08 | 0:41:11 | |
Oh, darling! Oooh! Oooh! | 0:41:09 | 0:41:11 | |
MUFFLED MOANING | 0:41:11 | 0:41:13 | |
HE GIGGLES | 0:41:13 | 0:41:17 | |
Stop it! Michael! | 0:41:15 | 0:41:17 | |
HE BANGS THE HEADBOARD | 0:41:17 | 0:41:20 | |
Mmmmmm! | 0:41:20 | 0:41:23 | |
Uhhhh! | 0:41:21 | 0:41:23 | |
Hhhh! Oh, Michael! | 0:41:24 | 0:41:26 | |
That was great. Really great. | 0:41:26 | 0:41:29 | |
I'm so pleased, darling. I know you love quickies. Here I come again. | 0:41:29 | 0:41:35 | |
HE SIGHS | 0:41:35 | 0:41:39 | |
Well, goodnight. | 0:41:36 | 0:41:39 | |
I get the hint. | 0:41:39 | 0:41:41 | |
You were just overcome with passion, there. I'll go to the bathroom. | 0:41:41 | 0:41:47 | |
That's something I love about you. | 0:41:47 | 0:41:49 | |
I'm just walking a little funny, that's all. | 0:41:49 | 0:41:53 | |
I must say, darling, | 0:41:54 | 0:41:56 | |
marrying you was the smartest bet I ever made. | 0:41:56 | 0:42:00 | |
Oh, Mike! | 0:42:02 | 0:42:04 | |
-WOMAN'S VOICE: -'Mike, here's your profile on Martin Shrater. | 0:42:12 | 0:42:18 | |
'He was chief engineer for a telecom company. | 0:42:18 | 0:42:22 | |
'He was accused of industrial espionage and fired.' | 0:42:21 | 0:42:26 | |
Did he do time? | 0:42:25 | 0:42:29 | |
'No. Charges were dropped. | 0:42:27 | 0:42:29 | |
'A year before, his wife and daughter died in a car accident.' | 0:42:29 | 0:42:35 | |
Sounds suspicious. | 0:42:33 | 0:42:35 | |
'No. Shrater was driving. | 0:42:35 | 0:42:38 | |
'I'm logging off. Take care.' | 0:42:38 | 0:42:40 | |
The company is sweeping your hotel room for surveillance gear. | 0:42:51 | 0:42:59 | |
Good. You can't honeymoon all day. | 0:42:55 | 0:42:59 | |
Speak for yourself! | 0:42:59 | 0:43:05 | |
What?! You like him?! | 0:43:00 | 0:43:05 | |
-Honey, who wouldn't? -Oh, Myra! | 0:43:02 | 0:43:05 | |
You cheap slut! | 0:43:05 | 0:43:10 | |
With him, anytime. | 0:43:07 | 0:43:10 | |
Anywhere. You're not attracted? | 0:43:10 | 0:43:15 | |
Of course not. We work together. | 0:43:12 | 0:43:15 | |
Right(!) | 0:43:15 | 0:43:17 | |
It's true. | 0:43:17 | 0:43:19 | |
So, what do you think? | 0:43:22 | 0:43:25 | |
I think all your cards are on the table. | 0:43:25 | 0:43:29 | |
Good! | 0:43:30 | 0:43:32 | |
Graham to base. Graham to base. | 0:43:51 | 0:43:54 | |
'We got you.' | 0:43:54 | 0:43:56 | |
I'm sending you some video of two guys. Will you run it? | 0:43:56 | 0:44:02 | |
'I'll be delighted.' | 0:44:01 | 0:44:04 | |
INAUDIBLE CONVERSATION | 0:44:13 | 0:44:17 | |
Did you get that? | 0:45:24 | 0:45:29 | |
-'I did. We'll enhance.' -Gracias. | 0:45:25 | 0:45:29 | |
We put the architect's drawings of Shrater's estate in the computer. | 0:45:38 | 0:45:44 | |
Here, he could have a hidden room. | 0:45:44 | 0:45:46 | |
This air vent is the only direct access from the outside. | 0:45:46 | 0:45:51 | |
It's about 100 feet off the ground. | 0:45:51 | 0:45:56 | |
It's 113 feet, to be exact. | 0:45:53 | 0:45:56 | |
Bathroom window. | 0:45:56 | 0:45:59 | |
No video surveillance. | 0:45:59 | 0:46:01 | |
Unless Shrater's a voyeur. | 0:46:01 | 0:46:03 | |
He's many things, but not that. | 0:46:03 | 0:46:06 | |
Any more on that industrial espionage charge? | 0:46:06 | 0:46:11 | |
Dropped. But Shrater didn't sue | 0:46:08 | 0:46:11 | |
for wrongful discharge. He's guilty of something. | 0:46:11 | 0:46:15 | |
You don't buy that estate on an engineer's salary. | 0:46:15 | 0:46:19 | |
-I can climb this. -It's sheer rock. | 0:46:19 | 0:46:22 | |
-Go through the vent at the party and scope it out. -Nick? | 0:46:22 | 0:46:26 | |
Ted! I want you to meet Mike Graham and Sabrina Carver. | 0:46:26 | 0:46:31 | |
This is Ted Fisk. Head of CIA operations here. | 0:46:31 | 0:46:35 | |
-Shall I show you what I got? -Yes. -The murder Mike taped - | 0:46:35 | 0:46:40 | |
the local police are hush hush. | 0:46:40 | 0:46:42 | |
The CIA aren't their favourite allies, I'm afraid. | 0:46:42 | 0:46:47 | |
The murder victim was a computer designer. | 0:46:47 | 0:46:50 | |
When the stock exchange collapsed, he was called in. | 0:46:50 | 0:46:55 | |
Here's an enhancement of the video. | 0:46:55 | 0:46:57 | |
That looks like a computer chip in Mao Yixin's hand. | 0:46:57 | 0:47:02 | |
Other than that Mao Yixin is Shrater's employee, we have nothing. | 0:47:01 | 0:47:07 | |
Nothing?! The CIA has nothing? We need prints, here. | 0:47:07 | 0:47:12 | |
I'll handle it. | 0:47:12 | 0:47:15 | |
Remember he's a killer. | 0:47:13 | 0:47:15 | |
The computer chips are installed in the phones like any other component. | 0:47:17 | 0:47:23 | |
ASKS A QUESTION IN ASIAN LANGUAGE | 0:47:23 | 0:47:25 | |
General Kim wonders about security. | 0:47:25 | 0:47:30 | |
No-one knows about this. | 0:47:27 | 0:47:30 | |
The General relies on me. | 0:47:30 | 0:47:34 | |
HE ASKS ANOTHER QUESTION | 0:47:32 | 0:47:34 | |
Will you explain his satellite? | 0:47:34 | 0:47:39 | |
Oh! It's HIS satellite? | 0:47:36 | 0:47:39 | |
HE SPEAKS IN ASIAN LANGUAGE | 0:47:39 | 0:47:45 | |
The People's Republic of North Korea paid for it. | 0:47:45 | 0:47:51 | |
Have a seat, General Kim. | 0:47:47 | 0:47:51 | |
This is what your money bought. | 0:47:52 | 0:47:55 | |
Executing worldwide data collection requires a satellite. | 0:47:55 | 0:47:59 | |
Once it's in orbit, we can use cellular transponders | 0:47:59 | 0:48:04 | |
to bounce signals from any point on the globe. | 0:48:04 | 0:48:08 | |
We can eavesdrop on worldwide telecommunications | 0:48:07 | 0:48:12 | |
or destroy whatever systems you choose. | 0:48:12 | 0:48:16 | |
Only North Korea would be safe. | 0:48:16 | 0:48:18 | |
And, unlike your nuclear programme, | 0:48:18 | 0:48:22 | |
it's reliable and secret. | 0:48:22 | 0:48:24 | |
HE TURNS TV ON | 0:48:26 | 0:48:29 | |
What if I can't keep Shrater busy? | 0:48:29 | 0:48:32 | |
Mike! | 0:48:34 | 0:48:36 | |
Are you listening to me? | 0:48:36 | 0:48:41 | |
Yes, of course I am. | 0:48:38 | 0:48:41 | |
You're so stubborn. | 0:48:42 | 0:48:45 | |
You ought to know. | 0:48:47 | 0:48:49 | |
OK. I admit it. I'm worried about your safety. | 0:48:51 | 0:48:56 | |
I'm worried about YOUR safety! | 0:49:00 | 0:49:02 | |
Artist? | 0:49:08 | 0:49:15 | |
Titus. Titan. Tittian. | 0:49:10 | 0:49:15 | |
It's pronounced Ti-shan. Title? | 0:49:11 | 0:49:15 | |
Er... Love. | 0:49:15 | 0:49:22 | |
Sacred and Profane Love. Know the difference? And this? | 0:49:17 | 0:49:22 | |
Oh, yeah. | 0:49:22 | 0:49:23 | |
This guy has a TV show. Van Dyck. | 0:49:23 | 0:49:29 | |
-Sure his name's not the Beaver? -Hm. | 0:49:26 | 0:49:29 | |
What about this? | 0:49:29 | 0:49:32 | |
Mary Cassatt. The Bath. | 0:49:30 | 0:49:32 | |
An American who lived in Paris around 1890. | 0:49:32 | 0:49:37 | |
Wow! | 0:49:37 | 0:49:38 | |
Hm! | 0:49:38 | 0:49:40 | |
My mother loved Mary Cassatt. | 0:49:40 | 0:49:43 | |
We had The Bath in our kitchen. | 0:49:44 | 0:49:47 | |
Hm. Not such a savage, after all. | 0:49:47 | 0:49:49 | |
PAN PIPES MUSIC | 0:49:50 | 0:49:53 | |
MUSIC AND CHATTERING | 0:49:55 | 0:49:58 | |
Am I overdressed? | 0:50:20 | 0:50:24 | |
No. You look lovely. There's Myra. | 0:50:21 | 0:50:24 | |
Mike. No-one told you about Shrater's parties! | 0:50:24 | 0:50:28 | |
Really! What's that? | 0:50:28 | 0:50:35 | |
A tradition. A competition for the most daring dress. | 0:50:30 | 0:50:35 | |
Mm-hm. You look... | 0:50:35 | 0:50:37 | |
very traditional. Oh, there's Shrater. By the Gauguin. | 0:50:37 | 0:50:42 | |
Gauguin? | 0:50:43 | 0:50:46 | |
Oh, it is a Gauguin. | 0:50:46 | 0:50:49 | |
Yes, it is. | 0:50:47 | 0:50:49 | |
He's got a great sense of erotic sensuality. The tropical blush... | 0:50:49 | 0:50:56 | |
-I'll keep Shrater busy. -Good idea. | 0:50:53 | 0:50:56 | |
Great eye for a good breast. | 0:50:56 | 0:51:00 | |
Mike? Get to work! | 0:50:58 | 0:51:00 | |
Got to go and make a living. Lovely dress. | 0:51:02 | 0:51:06 | |
How about a private tour? For a lady who will appreciate it. | 0:51:21 | 0:51:26 | |
Mike's not enthusiastic about art. | 0:51:26 | 0:51:29 | |
But he's a heck of a gambler! | 0:51:29 | 0:51:31 | |
That's true! | 0:51:31 | 0:51:33 | |
Let me know when he comes out. | 0:52:01 | 0:52:03 | |
(OK.) | 0:53:00 | 0:53:02 | |
Unfortunately, it's a copy. See? | 0:53:07 | 0:53:11 | |
"A copy of an original from the Wichita Art Museum, Kansas." | 0:53:12 | 0:53:17 | |
They're not forgeries. I admired them so much, I commissioned my own. | 0:53:17 | 0:53:25 | |
They're perfect! | 0:53:22 | 0:53:25 | |
Like that one! I remember seeing the original in Chicago. | 0:53:25 | 0:53:30 | |
I love Degas. | 0:53:30 | 0:53:32 | |
Look how he's captured her innocence. L'Etoile. | 0:53:34 | 0:53:38 | |
You're the star, tonight. | 0:53:38 | 0:53:42 | |
Arghhhhh! | 0:54:04 | 0:54:06 | |
I thought you might do that. | 0:54:24 | 0:54:28 | |
But you didn't move away. | 0:54:26 | 0:54:28 | |
No. | 0:54:28 | 0:54:30 | |
I understand you. | 0:54:30 | 0:54:33 | |
Do you? | 0:54:33 | 0:54:35 | |
SHIRT RIPS | 0:54:52 | 0:54:54 | |
Is Graham out? | 0:55:08 | 0:55:13 | |
No, sir. | 0:55:09 | 0:55:13 | |
Where is Shrater? | 0:55:11 | 0:55:13 | |
Tragical! | 0:55:15 | 0:55:17 | |
Graham to Cauldwell. Graham to Cauldwell. | 0:55:53 | 0:55:57 | |
'Cauldwell.' | 0:55:57 | 0:56:01 | |
Transmitting video. | 0:55:58 | 0:56:01 | |
There's your Night Watch, Nick. | 0:56:07 | 0:56:10 | |
'What's the other thing?' | 0:56:09 | 0:56:12 | |
Mao Yixin. Why the hurry?! | 0:56:16 | 0:56:18 | |
Oh! Nothing. | 0:56:18 | 0:56:20 | |
My fourth. Or is it my fifth champagne?! Please. | 0:56:20 | 0:56:24 | |
Get me some more. | 0:56:24 | 0:56:26 | |
Take me back to the party! | 0:56:39 | 0:56:41 | |
Sabrina. I thought you wanted... | 0:56:41 | 0:56:45 | |
Let me go! | 0:56:42 | 0:56:45 | |
This is your fifth, or is it sixth? | 0:56:47 | 0:56:50 | |
SHE GIGGLES | 0:56:50 | 0:56:56 | |
So you won't remember tomorrow if I tell you I want to kiss your breast | 0:56:51 | 0:56:56 | |
till dawn? But I'm working. | 0:56:56 | 0:57:01 | |
You know, you really... | 0:56:58 | 0:57:01 | |
Mr Graham? | 0:57:17 | 0:57:19 | |
'Mr Graham?' | 0:57:21 | 0:57:23 | |
Yes? | 0:57:23 | 0:57:30 | |
Is everything all right? | 0:57:24 | 0:57:30 | |
Uh... Uh... I've been better. | 0:57:25 | 0:57:30 | |
Is there anything I can do? | 0:57:29 | 0:57:33 | |
No. Thanks. | 0:57:31 | 0:57:33 | |
Uh! | 0:57:39 | 0:57:41 | |
You don't sound yourself, Mr Graham. | 0:57:41 | 0:57:44 | |
Patience, Timothy. Patience. | 0:57:44 | 0:57:47 | |
(Oh!) | 0:57:51 | 0:57:53 | |
RETCHING SOUND | 0:57:58 | 0:58:02 | |
Ughhhh! | 0:58:09 | 0:58:11 | |
HE FLUSHES TOILET | 0:58:25 | 0:58:27 | |
Hi. | 0:58:39 | 0:58:42 | |
Whew! It's all yours. Mind the step. | 0:58:41 | 0:58:45 | |
HE WHISTLES | 0:58:47 | 0:58:49 | |
Sabrina. I'm sorry I misread your signals. | 0:58:52 | 0:58:56 | |
Martin, act your age. OK? | 0:58:56 | 0:59:03 | |
-Telling Mike would only spoil your honeymoon. -Such wisdom! | 0:58:58 | 0:59:03 | |
Oh, Mike! Martin showed me his collection. Such beautiful pictures. | 0:59:03 | 0:59:09 | |
-Great. -Are you OK? | 0:59:09 | 0:59:14 | |
I have this terrible stomach. We should go. | 0:59:10 | 0:59:14 | |
Do you need a doctor? | 0:59:14 | 0:59:17 | |
No, that's OK. I just need some hotel time. | 0:59:17 | 0:59:21 | |
Listen, this was great. Good to see you again. Yeah. | 0:59:21 | 0:59:27 | |
-Goodnight. -Goodbye. | 0:59:24 | 0:59:27 | |
Oh, hi. | 0:59:29 | 0:59:31 | |
Watch the Americans. | 0:59:34 | 0:59:36 | |
That was close. | 0:59:40 | 0:59:44 | |
It sure was! HE WHISTLES | 0:59:41 | 0:59:44 | |
Look at me. | 0:59:52 | 0:59:54 | |
Someone's on to us. Kiss me. | 0:59:54 | 0:59:57 | |
What?! | 0:59:57 | 0:59:59 | |
In a moment. | 1:00:16 | 1:00:18 | |
Thanks. | 1:00:27 | 1:00:29 | |
Myra! Do you want a ride? | 1:00:54 | 1:00:57 | |
Sure. | 1:00:56 | 1:00:57 | |
Heck of a party. | 1:01:06 | 1:01:09 | |
I wouldn't know. | 1:01:09 | 1:01:16 | |
Feeling badly? | 1:01:10 | 1:01:16 | |
Was. That kiss made me feel better. | 1:01:12 | 1:01:16 | |
Well, I'm glad I could be of help, darling. | 1:01:16 | 1:01:21 | |
I wish we'd danced, Mike. I could take you both to a club. | 1:01:27 | 1:01:32 | |
This corner's fine, thanks. | 1:01:32 | 1:01:34 | |
Myra, that'd be great! Mike, me, you and your date. | 1:01:34 | 1:01:38 | |
We'll talk tomorrow. | 1:01:43 | 1:01:45 | |
Goodnight! | 1:01:47 | 1:01:49 | |
Carry on. | 1:01:50 | 1:01:53 | |
Well?! | 1:01:53 | 1:01:57 | |
-Just a goodnight kiss. -Oh! | 1:01:54 | 1:01:57 | |
BUSY STREET SOUNDS | 1:02:00 | 1:02:03 | |
Fisk. | 1:02:52 | 1:02:55 | |
-This is Myra. Code Red. -Myra? | 1:02:53 | 1:02:55 | |
Mao Yixin's after me. I'm unarmed. Hurry! | 1:02:55 | 1:03:00 | |
Myra's in trouble. | 1:03:06 | 1:03:08 | |
EXCITED CHATTERING | 1:03:12 | 1:03:14 | |
DISTANT SIREN | 1:03:21 | 1:03:25 | |
What could I do? Turn away? She wanted to kiss me. | 1:03:27 | 1:03:31 | |
-Mm-hm! -We had a mayday from Myra. | 1:03:31 | 1:03:33 | |
Myra? When? | 1:03:33 | 1:03:35 | |
Five minutes ago. | 1:03:35 | 1:03:38 | |
Mr Shrater. It's for you. | 1:03:46 | 1:03:48 | |
Hello. This is Martin. | 1:03:50 | 1:03:57 | |
Check the satellite. Someone knows. | 1:03:51 | 1:03:57 | |
-What do you mean? -Just do it! | 1:03:52 | 1:03:57 | |
COMPUTER: Good evening, Mr Shrater. | 1:04:06 | 1:04:09 | |
Definitely a space vehicle. | 1:04:41 | 1:04:43 | |
Probably a satellite. | 1:04:43 | 1:04:46 | |
We're running Mao Yixin's fingerprints. Nothing yet. | 1:04:46 | 1:04:51 | |
Why would Shrater have all those reproductions in his private study? | 1:04:51 | 1:04:56 | |
I mean, they're not worth much. | 1:04:56 | 1:04:59 | |
What launch base does this satellite need? | 1:04:59 | 1:05:05 | |
Not a lot. It's so miniature. | 1:05:01 | 1:05:05 | |
-What if they're real. -What? | 1:05:05 | 1:05:08 | |
Shrater's paintings. He swapped the Night Watch. | 1:05:07 | 1:05:11 | |
I'd recognise a real Degas. | 1:05:11 | 1:05:15 | |
Are you sure? | 1:05:14 | 1:05:17 | |
It's Nick. (Where was this Degas?) | 1:05:19 | 1:05:24 | |
Um... Chicago Art Institute. | 1:05:21 | 1:05:24 | |
Call the Chicago Art Institute | 1:05:24 | 1:05:26 | |
and ask them to check on the authenticity of L'Etoile by Degas. | 1:05:26 | 1:05:32 | |
Yeah. Now. | 1:05:32 | 1:05:34 | |
We need a list of Shrater's art. | 1:05:34 | 1:05:37 | |
Damn! | 1:05:39 | 1:05:41 | |
Myra and the Grahams worked together. | 1:05:41 | 1:05:47 | |
-You don't know that. -Shut up! | 1:05:43 | 1:05:47 | |
This arrogant scheme! Why the hell did you insist on forging paintings? | 1:05:47 | 1:05:54 | |
You got over a million phones | 1:05:52 | 1:05:54 | |
and I've finished the satellite that controls them. | 1:05:54 | 1:05:58 | |
Remember that when you bad-mouth our deal. | 1:05:58 | 1:06:04 | |
Our deal is over. | 1:06:04 | 1:06:06 | |
We know Mao killed the girl. We know the painting's there. | 1:06:22 | 1:06:28 | |
OK. | 1:06:25 | 1:06:28 | |
But it's the satellite. We found a guy who built one. | 1:06:28 | 1:06:32 | |
For what? That's what Cauldwell's after. | 1:06:32 | 1:06:35 | |
Cauldwell barely knew Myra. | 1:06:35 | 1:06:40 | |
Mike, listen. | 1:06:38 | 1:06:40 | |
Cauldwell has to deal with a lot of red tape. | 1:06:40 | 1:06:43 | |
We have to give him some time. | 1:06:43 | 1:06:46 | |
He can take his time. I'm gonna go after Mao. | 1:06:46 | 1:06:50 | |
Mike! Listen! Mike! | 1:06:50 | 1:06:53 | |
SHE SIGHS | 1:06:53 | 1:06:55 | |
MIKE! That's an order! | 1:07:04 | 1:07:07 | |
MICHAEL! DAMMIT! MICHAEL! | 1:07:15 | 1:07:18 | |
HE MURMURS AN ORDER | 1:07:25 | 1:07:28 | |
-Arghhh! -Ughhh! UGHHHH! | 1:07:34 | 1:07:37 | |
Arghhh! Uhhhhh! Uhhhhh! | 1:07:37 | 1:07:41 | |
Arghhhh! | 1:07:43 | 1:07:46 | |
HELP! | 1:07:50 | 1:07:52 | |
Stop it! | 1:07:55 | 1:07:57 | |
HELP! | 1:08:16 | 1:08:18 | |
GUNSHOTS | 1:08:29 | 1:08:32 | |
OK? Are you all right? | 1:08:41 | 1:08:43 | |
No. | 1:08:43 | 1:08:48 | |
Can I help you? | 1:08:44 | 1:08:48 | |
FRIGHTENED SHOUTING | 1:08:47 | 1:08:51 | |
Who do you work for? Answer me! | 1:08:55 | 1:09:00 | |
DRIVER SOUNDS HORN | 1:08:57 | 1:09:00 | |
RAPID GUNFIRE | 1:09:04 | 1:09:07 | |
ANGRY SHOUTING | 1:09:12 | 1:09:15 | |
Ugh! Uhhhhh! | 1:09:17 | 1:09:19 | |
Sabrina? | 1:10:14 | 1:10:17 | |
Hey. Have you seen a girl? | 1:11:35 | 1:11:38 | |
Mike! I'm here! | 1:12:42 | 1:12:46 | |
You screwed up, Graham. | 1:12:52 | 1:12:55 | |
I mean, this time. Just this time. | 1:12:59 | 1:13:02 | |
Didn't want to lose another partner. | 1:13:02 | 1:13:06 | |
I know. | 1:13:04 | 1:13:06 | |
Especially you. | 1:13:06 | 1:13:08 | |
Mao Yixin? I got something on his fingerprints from US customs. | 1:13:20 | 1:13:25 | |
Member of the Communist Party of North Korea. | 1:13:25 | 1:13:32 | |
North Korea! | 1:13:30 | 1:13:32 | |
He visited California the same year Shrater left for Hong Kong. | 1:13:32 | 1:13:37 | |
I bet Mao's running the show. | 1:13:37 | 1:13:40 | |
What do you think you're doing? | 1:13:48 | 1:13:56 | |
The satellite's ready to launch. | 1:13:50 | 1:13:56 | |
Since when...? Uhhhh! Oohhhh! | 1:13:52 | 1:13:56 | |
The capitalist, as his true self. | 1:14:06 | 1:14:10 | |
If you're thinking of killing me, there's a password you better know. | 1:14:09 | 1:14:18 | |
The one for the satellite software? | 1:14:14 | 1:14:18 | |
HE SHOUTS ORDERS IN KOREAN | 1:14:20 | 1:14:23 | |
On permanent loan from the National Gallery in Washington. | 1:14:23 | 1:14:28 | |
You see, I've spent the last eight years | 1:14:28 | 1:14:31 | |
baby-sitting a capitalist eccentric while he created | 1:14:31 | 1:14:36 | |
the weapon of the 21st century. A perfect marriage | 1:14:36 | 1:14:40 | |
of technology, convenience and greed. | 1:14:40 | 1:14:45 | |
Now, what's the password? | 1:14:49 | 1:14:52 | |
Uh-uh. You wouldn't do it. | 1:14:52 | 1:14:55 | |
You think I'll kill you, once I get the password? Oh, no. | 1:14:54 | 1:14:59 | |
What if the system fails? Now, the password. | 1:14:59 | 1:15:03 | |
No! You won't burn it. | 1:15:03 | 1:15:06 | |
Watch me. | 1:15:06 | 1:15:08 | |
Watch me, Martin. | 1:15:11 | 1:15:14 | |
STOP! OH, GOD! | 1:15:17 | 1:15:19 | |
There are many more paintings, and I have plenty of lighter fuel. | 1:15:22 | 1:15:27 | |
The password is "Hoosier". | 1:15:31 | 1:15:33 | |
H-O-O-S... | 1:15:34 | 1:15:38 | |
..I-E-R. | 1:15:39 | 1:15:41 | |
'The Hong Kong police say there were no witnesses.' | 1:15:50 | 1:15:54 | |
What else? | 1:15:54 | 1:15:58 | |
'The company that fired Shrater | 1:15:55 | 1:15:58 | |
'built the scrambling system for US military communications.' | 1:15:58 | 1:16:03 | |
Did he work on it? | 1:16:03 | 1:16:10 | |
'He designed it. Pentagon details soon. Logging off.' | 1:16:05 | 1:16:10 | |
The phone! | 1:16:15 | 1:16:17 | |
Bess! | 1:16:43 | 1:16:45 | |
Send your systems expert in here! | 1:16:45 | 1:16:47 | |
THEY SPEAK KOREAN | 1:16:49 | 1:16:52 | |
Watch this. | 1:16:57 | 1:16:59 | |
'Authorisation to commence routine procedural rotation of sector two. | 1:16:59 | 1:17:04 | |
'Agent Sang to supervise. Top six agents in Zone F...' | 1:17:04 | 1:17:09 | |
It's a secure line from Washington! | 1:17:08 | 1:17:11 | |
Not with this little guy. Let's patch it into the mainframe. | 1:17:11 | 1:17:17 | |
That's amazing! | 1:17:24 | 1:17:26 | |
Was that supposed to do that? | 1:17:26 | 1:17:33 | |
Apparently. | 1:17:28 | 1:17:33 | |
-A communication bomb. -Wait a second. | 1:17:29 | 1:17:33 | |
When the eavesdropping phone gets the signal, it blows? | 1:17:33 | 1:17:37 | |
And it's all controlled by...? | 1:17:37 | 1:17:42 | |
By the satellite. | 1:17:39 | 1:17:42 | |
Snappy. Pretty snappy. | 1:17:42 | 1:17:45 | |
Is there anything worse than seeing your children die? | 1:17:48 | 1:17:54 | |
Take them. For mankind's sake! | 1:17:51 | 1:17:54 | |
Mankind has been enjoying your fakes for years. | 1:17:54 | 1:17:58 | |
Mankind doesn't know the difference. | 1:17:58 | 1:18:01 | |
After you've seen them burn, you can blow to kingdom come. | 1:18:02 | 1:18:07 | |
These last eight years have been hell, Martin, but today, | 1:18:07 | 1:18:12 | |
today makes up for it. | 1:18:12 | 1:18:14 | |
Goodbye, Martin. | 1:18:29 | 1:18:32 | |
The Degas in Chicago is a fake. | 1:18:40 | 1:18:43 | |
Shrater had a Mary Cassatt in his collection. | 1:18:43 | 1:18:47 | |
< OK! Move it! | 1:18:47 | 1:18:50 | |
SHIP HORN BLOWS | 1:18:50 | 1:18:53 | |
Red Star. On our way to you. | 1:18:53 | 1:18:56 | |
Roger. Docking in ten minutes. | 1:18:56 | 1:18:59 | |
ELECTRONIC BLEEPING | 1:19:20 | 1:19:23 | |
BLEEPING SPEEDS UP | 1:19:30 | 1:19:33 | |
NO! PLEASE! NO-O-O-O-O-O! | 1:19:35 | 1:19:39 | |
SERGEANT! ON THE DOOR! | 1:19:51 | 1:19:53 | |
FAST ELECTRONIC BLEEPING | 1:19:57 | 1:20:00 | |
Go! Go! Go! | 1:20:07 | 1:20:09 | |
Where's that coming from?! | 1:20:13 | 1:20:15 | |
I'll go. | 1:20:23 | 1:20:27 | |
No, I'll go. Wait! | 1:20:24 | 1:20:27 | |
-I like this. Let's go. -HELP ME! | 1:20:40 | 1:20:45 | |
I hear Shrater! | 1:20:43 | 1:20:45 | |
They're burning the paintings! | 1:20:45 | 1:20:48 | |
HE SPEAKS KOREAN | 1:20:57 | 1:21:01 | |
REPLIES IN KOREAN | 1:21:00 | 1:21:03 | |
PLEASE! NO! | 1:21:08 | 1:21:10 | |
Shrater, is that you? | 1:21:10 | 1:21:17 | |
-Yes. -It could be a set up. What are you doing? -I'll decide. | 1:21:12 | 1:21:17 | |
How do we beat security, Shrater? | 1:21:17 | 1:21:24 | |
-You can't. -I'll do it. | 1:21:19 | 1:21:24 | |
COMPUTER: Entry denied. | 1:21:20 | 1:21:24 | |
Go! | 1:21:26 | 1:21:28 | |
Mao booby-trapped the paintings! | 1:21:30 | 1:21:32 | |
Oh, Mom! | 1:21:32 | 1:21:35 | |
Where's the satellite? | 1:21:44 | 1:21:52 | |
-Mao took it to the launch. -Where? | 1:21:45 | 1:21:52 | |
They're meeting a Korean freighter. | 1:21:48 | 1:21:52 | |
They have a rocket. Two Mercedes vans. White. One is ground control. | 1:21:52 | 1:21:59 | |
Fisk, search the estate. Let's go! | 1:21:56 | 1:21:59 | |
WAIT! There's a bomb. | 1:21:58 | 1:22:01 | |
A bomb?! | 1:22:01 | 1:22:03 | |
A bomb! | 1:22:04 | 1:22:06 | |
Mike! | 1:22:06 | 1:22:11 | |
It's OK. I got it. I got it. | 1:22:07 | 1:22:11 | |
Red, yellow... | 1:22:11 | 1:22:15 | |
Be careful. | 1:22:12 | 1:22:15 | |
..blue. Oh! | 1:22:12 | 1:22:15 | |
Oh! Out! | 1:22:19 | 1:22:21 | |
GO! | 1:22:25 | 1:22:26 | |
Everybody, clear the building! | 1:22:26 | 1:22:30 | |
What the...?! Come on! | 1:22:30 | 1:22:33 | |
Mike! | 1:22:34 | 1:22:36 | |
Ohhhh! | 1:22:44 | 1:22:45 | |
SHIP HORN BLOWS | 1:22:52 | 1:22:54 | |
The idea is to get there alive. | 1:22:57 | 1:23:00 | |
You know, this honeymoon cover is just a cover. | 1:23:00 | 1:23:04 | |
You don't get romantically involved. | 1:23:04 | 1:23:07 | |
Of course, sir. | 1:23:07 | 1:23:09 | |
Michael? | 1:23:09 | 1:23:12 | |
I'm just glad to be here. | 1:23:10 | 1:23:12 | |
SHIP HORN | 1:23:12 | 1:23:15 | |
EXCITED SHOUTING | 1:23:15 | 1:23:18 | |
Satellite dish. | 1:23:35 | 1:23:37 | |
Look out. It could be booby-trapped. | 1:23:41 | 1:23:44 | |
It's empty. | 1:23:45 | 1:23:49 | |
-Where's the satellite? -Look. | 1:23:46 | 1:23:49 | |
That's our freighter, Michael. Sabrina, find mission control. | 1:23:49 | 1:23:57 | |
-Come on! -Do it! Close the door. | 1:23:53 | 1:23:57 | |
HE SHOUTS ORDERS | 1:24:05 | 1:24:08 | |
Oi! Come here, buddy! We want your boat. | 1:24:18 | 1:24:22 | |
I'm on holiday, here! | 1:24:22 | 1:24:27 | |
Off! Off! Throw the line! | 1:24:24 | 1:24:27 | |
Come on! | 1:24:27 | 1:24:29 | |
When do I get my boat back? Hey! | 1:24:29 | 1:24:32 | |
How about that rope? | 1:24:53 | 1:24:57 | |
-I see it. -I'll get you close. | 1:24:55 | 1:24:57 | |
Give me your gun. | 1:24:57 | 1:24:59 | |
THEY SPEAK KOREAN | 1:25:26 | 1:25:32 | |
I'll decoy. | 1:25:37 | 1:25:39 | |
SHOUTING | 1:25:44 | 1:25:48 | |
EXCITED SHOUTING | 1:25:53 | 1:25:56 | |
Arghhhh! | 1:26:22 | 1:26:25 | |
Countdown. | 1:26:33 | 1:26:35 | |
HE SHOUTS | 1:26:47 | 1:26:49 | |
COUNTDOWN CONTINUES IN KOREAN | 1:27:11 | 1:27:14 | |
COUNTDOWN CONTINUES | 1:27:23 | 1:27:26 | |
Uhhhhhh! | 1:27:43 | 1:27:46 | |
-Ooooh! -Uhhhh! | 1:27:58 | 1:28:01 | |
Arghhhh! | 1:28:06 | 1:28:08 | |
COUNTDOWN CONTINUES | 1:28:26 | 1:28:30 | |
Lift off! | 1:28:54 | 1:28:56 | |
FREEZE! | 1:29:18 | 1:29:19 | |
Don't move! Get down! Where's the abort button? Come on! | 1:29:19 | 1:29:25 | |
Get back here! | 1:29:25 | 1:29:27 | |
Oh! | 1:30:03 | 1:30:05 | |
-Oh! -Oh. | 1:30:05 | 1:30:07 | |
Now, children, this is Rembrandt's largest painting. The Night Watch. | 1:30:15 | 1:30:21 | |
How many people can you see in the shadows? | 1:30:21 | 1:30:24 | |
Now, that, the real one, is a beautiful piece of work. | 1:30:26 | 1:30:30 | |
Hmmm. Can you tell the difference? Are you sure it's the Night Watch? | 1:30:30 | 1:30:36 | |
The real, no-kidding Rembrandt's Night Watch? | 1:30:36 | 1:30:40 | |
Because, I don't know about you, but I can't tell the difference. | 1:30:40 | 1:30:47 | |
Of course I can tell. That's it! | 1:30:43 | 1:30:47 | |
OK. | 1:30:47 | 1:30:49 | |
Got you guessing, eh?! | 1:31:01 | 1:31:04 | |
Subtitles by IMS | 1:31:16 | 1:31:22 |