All language subtitles for The.Thomas.Crown.Affair.1999.1080p.BluRay.x265-RARBG

WOMAN: I want you
to talk about women.

Mr. Crown?

- I'm sorry.
- Women.

You've yet to talk about women.

Oh, I enjoy women.

Enjoyment isn't intimacy.

And intimacy isn't
necessarily enjoyment.

How would you know?

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

(CHUCKLES)

I trust myself implicitly.

Yes, but can other
people trust you?

You mean society at large?

I mean women,
Mr. Crown.

Yes, a woman could trust me.

Good.

Under what extraordinary circumstances...

...would you allow that to happen?

A woman could trust me...

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

And society at large,

if its interests were to run
counter to your own?

Hmm.

Jimmy, I gotta walk for a while.
I'll meet you at the office.

You want me to take
your briefcase?

Uh, No, I'll carry it.

(HORN BLARING)

Whoa! Jesus Christ!

Look at this jerk.

(CAMERA CLICKS)

(BRIEFCASE LOCK CLICKING)

BOBBY: Morning, Mr. Crown.

Bobby.

Back for your haystacks, huh?

Don't ever let it go on tour, Bobby.

Oh, I'll lay down the law.

(BOBBY CHUCKLES)

You, You're an odd duck.

Everybody else goes direct
through the Monet.

Well...

...it's very nice.

Nice?

Do you know what it's worth?

I just like my haystacks, Bobby.

(HORNS BLARING)

MAN: Yo, you gonna move it?

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

Jesus Christ.

Bring it on.

Something's screwed up.

My list says some kind of sarcophagus.

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

You want I should
take it back and dump it?

Nah.

Nah, just unload the damn thing.

Boy, it's gonna be hot today.

(SIREN WAILING)

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

You can't let 'em know what's going on.
Know what I mean?
(CROWN CLEARS THROAT)

What, you own the building or something?

Excuse us, sir.

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

MAN: He does own
the building.

(ELEVATOR BELL DINGING)

Good morning, Mr. Crown.

Good morning, one and all.

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

Good morning, Mr. Crown.
Good morning.

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

Good morning, Mr. Crown.

You forgot your briefcase, right?

I must've left it
here last night.

(KEYS JINGLING)

We have a disparity here.

Yeah, I saw that.

Well, we can't leave it here.

Let's find out
what the problem is.

(BEEPS)

(MECHANICAL HUMMING)

That is not a sarcophagus.

It's Friday.

MAN: What did he
mean by that?

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

MAN 1: Deuce!

(MEN CHUCKLING)

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

MAN 2: Thomas Crown
forced to sell something.

So what do you think, Crown?

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

Regret is usually
a waste of time.

As is gloating.

Have you figured out what
you're gonna say to your board

when they learn that you paid me
30 million more

than others were offering?

Good morning, gentlemen.

(SAWING)

(CREAKING)

(GRUNTS)

(GROANS)

(CLICKS)

All right,
English only from now on.

(SPEAKING POLISH)

(MAN LAUGHING)

MAN: Gentlemen,
upon a closer inspection,

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

There is no mention
of executive compensation.

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

It's not a merger!

I'm afraid your stockholders have spoken.

We have been believe the stock
price was manipulated.

Frankly, we've anticipated
your reluctance.

We won't be a Crown subsidiary.

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

(LAUGHING)
I thought that kid was gonna bust a gut

when you went into
that thing about SEC.

- That was brilliant!
- How's it go?

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

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

That's the line, Danny.

He's right, you know.

Third-generation company,

you think they would
have shown more grit.

DARIA: Don't forget about the Douglaston
conference call in 10 minutes.

Speak to Scully.
Miso soup, Daria.

DARIA: On its way.

Go, go, go!

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

It started the impressionist movement.

It influenced dozens of major artists

who went on to found
the first major school

or style of the 20th century.

(STUDENTS WHISPERING)

Okay. Try this.

It's worth a 100 million bucks.

(ALL GASPING)

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

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

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

DARIA: Don't forget about
The Douglaston conference call

in 10 minutes.

BOBBY: Young lady,

do not touch.

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

(CLANKING)

(MACHINES SHUTTING DOWN)

(GROANS)

(EXCLAIMS)

(GROANS)

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

There's something
wonky with the A.C.

Can't we pass it
on to Engineering?

The book says we check it first.

All right.

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

Can you believe it's nearly October?

(ELEVATOR BELL DlNGS)

Why don't you bring the kids?

Are you kidding?

You know how she is.

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

(ELEVATOR BELL DINGS)

You're not kiddin'?

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

The whole air-conditioning
plant's crapped out.

Why didn't they call Maintenance?

(CHUCKLES)

See you in the morning, Daria.

Found your briefcase, I see.

Evidently.

Good night, sir.

(GRUNTING)

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

Thanks.

Hey, they want to talk
to you upstairs.

Me, or the regular proctor?

Because McKinley'll be back
in a couple seconds.

I think you should talk to them.

Call them if you like.

(ELECTRICAL HUMMING)

Administration. Hello?

Yeah, this is Jeff in wing eight.

I was just told you
wanted to speak to me.

Okay, I'll be right up.

I'll, uh, just go up.

Sorry.
This exhibit is closing.

I'll have to ask you to leave.

This exhibit is now closed.

Please use the nearest exit.

This exhibit is now closed.

We are closed for the evening.

We're closing.
Thank you.

Please exit through the rear.

Thank you.
Right this way.

Good night.

Thank you very much.

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

What have we got here?

It's only a quarter to 5:00.

We are closed.

For cleaning.

Hey, Bobby...I've been evicted.

What do you mean?

The impressionist Gallery.

Closed for cleaning.

- Cleaning?
- Yeah.

Doing it right now.

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

Certainly.

(SPEAKING ROMANIAN)

BOBBY: Excuse me.

What do you think you're doing?

Yes.

What?

Upstairs sent us down
to clean this exhibit.

They've got some
VIPs coming through.

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

Call upstairs if you like.

No, you're right.

They've been having people
down here all week.

(MEN SHOUTING)

MAN: Stop him!
Watch it now!

(GROANING)

Stop him!
Stop him!

Look out, Mr. Crown.

(GROANING)

(ALARM BLARING)

(PEOPLE SHOUTING)

FEMALE PROCTOR:
One at a time. Quickly.

Keep moving in a calm
manner, please.

Keep moving. No need to panic.
Thank you. Keep moving.

(GRUNTS)

Hold it right there.

(HELICOPTER WHIRRING)

Freeze!

Keep your hands up!

(SIREN WAILING)

(WHISTLES)

68th and Lexington.

- Good evening, sir.
- Hey, Paul.

Wanna put this in the study?

I set out a bottle of wine.

Thank you.

I may have won a cruise.

(CLICKING)

(CLICKS)

(LAUGHS)

Oh, yes.

Mikey.

Hey. They find the chopper?

Abandoned in Queens.

- We know where it was stolen?
- Checking.

Probably off to some guys' pad
in the Hamptons.

Yeah. Well.

Mr. Lenox.

Mr. Lenox is the director of the museum.

Yeah?

This is Detective Michael McCann.

Sorry to be here, sir.

Who are the actors?

Four, all foreign.

Probably Eastern European.

No print records.

Yeah.

Illegals.
Check with Interpol.

Russian government might help.

In the works.

Point of entry was a hollow
statue delivered this morning.

They brought it in
through their own security.

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

- A Trojan horse?
- Bingo.

Somebody's got a sense of humor.

We got three digits
off the truck plate.

This place been hit before?
(CHUCKLES)

They just lost their cherry.

Mr. Lennox, I gather it was just
the one painting?

But it's such an important one.

It's a seminal work,
a historical watershed.

It's truly irreplaceable.

I love this neighborhood.

Some of these broads
are wearing my salary.

So the skylight
was rigged to blow?

Yeah.

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

And they were wearing rappelling
harnesses underneath their clothes.

Let's just track this thing through.
So...

...they kill the air,

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

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

Then they lower the paintings
into the cargo nets.

Pull the paintings,
ditch the frames.

Figure they're gonna
fly out of here

like a road company
of Peter Pan.

But somebody makes them early.

Chopper takes off.

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

Basically, amateur night, right?

What's that?

It was wedged under the gate.

And?

Not exactly Samsonite.

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

15 to 20 tons to stop this gate.

(FOOTSTEPS APPROACHING)

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

They shut off the air
to drive out the tourists,

then they escort them out anyway?

Then they close the gates
to keep everybody out

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

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

that we know about, in a, uhm...

What was the chopper model?

Sikorsky S-76.

Right.

In a chopper with a
600-pound useful load.

You, uh...

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

It's Detective. You know, I'm a little
fuzzy about who you are.

Oh, I'm sorry. I'm
Catherine Banning.

Of?

Zurich underwriters requested...

Well, actually they...

You're insurance.

Let' say, there are a couple
Swiss gentlemen

who'd rather not write
a $100 million check.

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

Ohh...

Come on, Lieutenant.

Who knows?

You might enjoy it.

(CHUCKLES)

(JOHN EXCLAIMS)

Thousand bucks says
you can't do that again.

Tony, put another
ball down there.

Tommy, it was
a figure of speech.

Let's make it
interesting, shall we?

10-to-one?

Fine.
I'll take your money.

Let's go again.
Still 10-to-one.

Tommy.

That's $100,000 on
a goddamn golf swing.

It's a beautiful
Saturday morning, John.

What the hell else
do we gotta do?

Allright.

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

- Born Catherine Olds.
- Well, who's Banning?

Some Englishman she married
for six months.

So she's not law enforcement.

Worse.
Bail bonds and bounties.

- Whoa, tough people.
- Yeah.

Her father's an Ohio hardcase,

named Clarence Milton Olds,
called Bumper Olds.

Story goes he kept a chain
on his back bumper.

A guy ran on him once,

he brought him back
on the end of the chain.

Guess you don't wanna
cross old Clarence, huh?

Good morning.
How are you?

I said, uh, how are you?

Jet-lagged. Thank you.

We thought we'd start with the, uhm,

security tapes.
What is that?

You don't wanna know.

All right.

These are yesterday's tapes
from the impressionist wing.

CATHERINE:
Why are they different
from the corridor cameras?

MAN: We're upgrading
to thermal imagery.

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

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

Got it.

So that's the Monet
that morning.

Right.

Okay. Skip forward to the robbery.

- Time of the robbery.
- Whoa.

Zip.

Was the camera still working, or

what, did they cut the feed?

(EXCLAIMS)

No!

That's why they cut the air.

MAN: You know,
that could be.

These things need
a 10-degree difference.

If the temperature of the ambient
gets within 10 degrees of the bodies...

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

And how hot did it get
in the museum?

Check the other cameras.

Okay. So why can you see
people in this room?

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

Okay. Wait a minute.

You're telling me
that for some reason,

the area around that particular
painting went above 90?

McCANN: What?

I don't know.

Something.

McCANN: What, are we
channeling now?

How long you been doing this?

A while.

Where? In Europe?

And other places.

You're a real self-promoter.

Give me a for instance.

- How many legs?
- What?

The bench.

Two.

- You still have that tape up?
- Yeah.

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

Stop.

Hello.

Jesus.

McCANN: So they bring this thing in
earlier in the day. What's in it?

I mean it could be a heater.

What?

In the briefcase, on a timer.

Bring the temperature up
10 more degrees.

You ever eat?

CATHERINE: Hmm?

Lunch, for instance?

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

I'm on London time.

And pizza's not your thing.
Okay.

What's the matter, Lieutenant?

Did she leave you
for a stockbroker?

Hmm?

It's Detective.

First Grade.

And uh,

he was a urologist.

Can I drop you someplace?
At your hotel?

One, I keep an apartment here,

and two,
I'm going to your office.

She keeps an apartment.

I keep goldfish.

(LAUGHING) Hey!

Hello there, little lady.
How are you doing?

Detective.

They don't seem to be Russian.

Tadross thinks maybe Romanian.

- The witness is here.
- Right.

- Come on in. Yeah.
- Mmm-hmm

Number four.

McCANN: You're sure?

I'm sure.

Okay.

Would you mind
indicating that here?

- Certainly.
- Just check it off.

Sure.

And if you could
sign down here, please.

These gentlemen
will take you out,

They will finish the paperwork.

- Appreciate it, Mr. Crown.
- CROWN: Thank you very much.

We're gonna go
beat up the Romanians.

Okay.

Thank you, thank you.

Well, wait a minute.
I gotta get some coffee.

CROWN: That sums it up,
gentlemen.

And you'd be willing to testify to that?

CROWN: Sure, absolutely.

Mr. Crown, I have to tell you,

people like this,
they might have friends.

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

Yeah. Well, I understand,
gentlemen, and uh,

I guess I'll, uh, I just take my chances.

PARETTI:
We'll nail these jokers.

CROWN: I can't imagine
somebody thinking

that they'd get away
with a thing like this.

(SPEAKING FOREIGN LANGUAGE)

They say anything yet?

Not in English.

We're still trying to find
somebody to translate.

Let me try.

Do not tell me now
you speak Romanian.

God, who would ever bother
with Romanian?

Give me the quiet one.

Okay.

(SPEAKING IN FOREIGN LANGUAGE)
Do you like the United States?

(SPEAKING GERMAN)
Do you like watching gangster movies?

With Edward G Robinson?

His family came from Romania.

I want a lawyer.

But you are not a U.S. citizen.

Hmm?

There won't be a trial.

You will simply be deported.

Romanians without ID card
make us nervous.

Nervous.

They could be...

..(whispers) Secret Police.

Your government will
accept secret police.

(GRUNTS)

What they'll do ...

...with you...

Hmm?

They do speak English.

It was a prepackaged robbery.

He picked them up
in Little Odessa.

They were given
timetables, electrical...

Okay. Who's "he"?

Well. You don't think
they know, do you?

I mean,
there were intermediaries.

They never saw his face
or heard his voice.

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

What makes you think
they failed?

Oh.

Maybe it was a
successful robbery.

Maybe they were set up to fail.

Why?

Diversion.

Make a lot of noise over there

so over here in this room you can
take 100 million off the wall

and waltz right out
the front door.

(GASPS)

Oh, that's good.

Doesn't matter.

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

(LAUGHS)

(GULPING)

He's not gonna sell.

- He's not?
- CATHERINE: Mmm-mmm.

This is an elegant crime
done by an elegant person.

It's not about the money.

Okay. So,

who's gonna risk prison
to steal a Monet

just to not sell it?

A Monet lover.

- Uh, whose desk is that?
- Uhmm.

Could I use it?

Yeah. Sure.

Okay.

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

and see who's been
bidding on Monets.

See anyone we know?

Him?

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

He's a finance geek.

Is he?

- MAN: How's that?
- Yeah!

(LAUGHING)

Go, go!

(WHOOPING)

(SHOUTS)

Ease up.

Whoa.

(LAUGHING)

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

(SCREAMING)

I saw him wreck a $100,000 boat

because he liked the splash.

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

- Hmm?
- Mmm-hmm.

Not to mention
political connections.

(GIGGLES)

LENOX: Mr. Thomas Crown has very
generously loaned us a Pissarro...

(APPLAUSE)...until our own Monet
is restored to us.

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

(GUESTS APPLAUDING)

I'm afraid Jim embellishes horrendously.

I just did what Jim does
at these fundraisers.

I waved my arms in the air and

shrieked for help.

(ALL LAUGHING)

Hello, Gloria. How are you?

Lovely to see you.

You're well?

(WOMAN) I knew him, you know.

- Did you, madam?
- His son, that is.

Lucien Pissarro in the '30s in Paris.

It's very impressive.

Well, it seemed the right size
for the space.

Or maybe you were bored with it.

Do we know each other?

Not yet.
I'm Catherine Banning.

Thomas Crown.

Vodka rocks, twist.
BARTENDER: Okay.

And, uhm, Scotch, neat.

Mmm-hmm.

How did you know that?

I've been reading about you.

Oh? Where?

In a file.

Who do you work for?

I'm in the art world.

- Dealer?
- Mmm-mmm.

Gallery owner?

No, it's closer to insurance.

I'm covered.

Not for this.

The painting?

The Monet?

You don't think they'd simply
cut a check for $100 million, do you?

So you...

Get them things.

When there's this
much money involved,

it usually means
I get them someone's head.

And whose head are you after?

Yours.
Good evening, Mr. Crown.

Are you trying to, uh,...

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

Trying?

Thank you.

No, I wouldn't call it an attempt.

What's your take from this?

Five percent of the value recovered.

Oh.

- A bounty hunter.
- If you like.

- Always get your man?
- Mmm-hmm.

Think you'll get me?

Oh, I hope so.

CROWN:
Can I, uh, drop you somewhere?

CATHERINE:
I have a car here. Thanks.

Ah. Then, uh, tomorrow?

(ENGINE STARTS)

Us? dinner?

You're on.

Let's make it early.

We've got a stop to make first.

WOMAN: What's happened?

Happened?

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

the corners of your mouth go up.

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

An entertainment.

Very little entertains you.

So I can easily guess.

A worthy adversary?

Hmm?

Did someone swindle you?

(CHUCKLES)

You waltz in there
without even a heads-up,

without one word to me

or anyone else in the department
for that matter.

I, uh, had a little chat
with him, yes.

You had a little chat.

You told him balls-out
he was a suspect.

I cut through the crap, alright?

How long was it
gonna take you, Mike?

Weeks of wiretaps,
if you could get them.

Guys tailing him
to the bathroom.

I found out in 10 minutes.

He did it.

The smug son of a bitch did it.

You compromised
the investigation.

No, I jump-started it.

Oh, really?

What do you have to show for it,

besides a date?

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

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

You saying I shouldn't go?

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

(TIRES SCREECHING)

How do you do?
This is a warrant.

We're here to conduct a legal
search of these premises.

I'd let us.

Jack, give me two men up here.

I want two more men
in this room right here.

Let's go. Move, move.

Come on. Let's go in.

John, take the back room.

MAN: You want help in here?

PAUL: Mr. Crown.

Thank you.
Uh, excuse me?

Why are you in my house?

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

but your lawyer will
be able to explain.

Wallace?

This gentleman happens to be
my attorney.

(ENGINE STARTS)

(TIRES SCREECHING)

Oh, keep your knickers on.

I'll get into his house.

- You look wonderful.
- Thank you.

- How are you?
- Popular.

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

You know where he's taking her?

To the museum.

He's takin' her to
the fucking museum.

It's kinda sweet.

You know,
for a first date. Huh?

CATHERINE:
Hey, I didn't know
your portrait was here.

The faceless businessman
in a bowler hat.

Everything but the briefcase.

Did you have to sit
long for the artist?

Actually, um,
I do own a copy of that.

(LAUGHING)

Oh, of course you do.

And where might
you be taking me?

Come, come, come, come.

Good evening, sir.

The museum is closing
in 15 minutes.

CROWN: Thank you.

Ah.

- Your loaner
- Uh, huh.

- That's the least I could do.
- Hmm.

(SNIFFS)

Oh, I see they got the air back on.

I shouldn't have checked my coat.

- Thank you.
- Hm-mm.

You know, if I had my pick
in this room

I wouldn't have taken the Monet.

- No?
- No.

What would you take?

- For my personal choice?
- Hm mm.

Um...

(KEYS JINGLING)

That one.

- You?
- Hmm.

You'd like to have that?

Why?

Would you get it for me?

Anything's obtainable.

(CHUCKLES)
Okay, I'll bite.

What would you do to get it?

I'd buy a print.

(LAUGHING)

It looks like they're
going into Cipriani.

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

I'm watching them
walk into Cipriani.

And with no reservation.

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

What?

That the lady
actually likes champagne.

WAITER: We have Krug
Grand Cuvèe 1981.

- Sounds great. Thank you.
- Wonderful.

On the way.

You've been busy.

(CHUCKLING)

I'm sure your files
are thicker than mine.

The thing that impressed me most

was getting from Glasgow to Oxford
on a boxing scholarship.

Not bad for a wee lad
from "Glasgee."

It was easy.

Rich kids can't box.

(CATHERINE CHUCKLES)

The hard part was
learning to talk.

But you, now.

- The matador?
- Hmm.

The Italian industrialist?

- The ambassador's son?
- He was cute.

- He was seventeen!
- Yes, he was.

I must admit,
that's a fair litany

for a young girl
from Lima, Ohio.

But the part I didn't get...

I mean, it's obvious that
you like men,

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

Oh, well, men make women messy.

Thank you.

Here's to the fear
of being trapped.

Here's the fish for the lady.

- Thank you.
- Thanks, you're welcome.

And the lamb chops for the gentleman.
- Thank you.

- Please.
- And we'd like to pre-order souffles.

And, uh, I'd like to
send a bottle of burgundy

to those two gentlemen over there.

WAITER: Of course, sir.
Enjoy.

Thank you very much.
At least they look like uptown.

The ones yesterday
looked like flashers.

Well, we do our best.

I'm under glass.

Soon you'll know
everything about me.

There are things we don't know.

Like what?

Like why.

Were you bored?

Acquisitions and mergers
looking a little stodgy?

Is it more fun getting it
than keeping it?

Is this the fun part for you?

How do you mean?

It's not about the money.

You like the chase.

Not many women get to chase.

It's like poker.

We don't let you in the game.

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

And now they're plumbers.

Oh, but you knew that.

Can I apply you
with anything else?

Nothing.

Cheese tray?
Would you like a, uhm...

Would you like a deal?

Make it easy on yourself.

We'll just get
more warrant searches.

Mess up your carpeting.

May I...

May I ask you
a very personal question?

Why not?

Would you like
another hit of espresso?

Would you like another...

Like another hit of espresso?

Mmm.

That's the very
personal question?

That's as good as it gets.

Oh. Excuse me.

May I ask you
a very personal question?

Oh, sure. By all means.

Do you really think
I'm going to sleep with

a man I'm investigating? Hmm?

- Is that the question?
- Yes, that's it.

Why should I
answer your question

when you didn't seriously
commit to my espresso?

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

(PEOPLE CHATTERING)

I'd let you in...

But the world is watching.

Yes, they are.

And besides,
you've got no furniture.

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

- Good night.
- Good night.

Alone?

(MAN CHATTERING ON TV)

Ready?

Okay.

Ground.

Okay.

Ten.

Eleven.

Twelve.

Thirteen.

Fourteen.

Fifteen.

Sixteen.

Seventeen.

Eighteen.

Nineteen.

MAN: Got it.

- Good.
- You're slippin', Larry.

LARRY:
Give me a break, all right?

Guy's got a 10-digit PIN.

Check the basement first.

You got it.

- Excuse me.
- Is that it?

- We got it.
- She got it!

Excuse me.

(ALL CHEERING)

Is the expert here?

Ready and waiting, darling.
(WHOOPS)

- Let's see what you got.
- Okay.

Look, this is George French,
head of forensics.

- Hi, George.
- Hi.

This is Dr. Cornelius
of Manhattanville.

Come on in, Doc.

This is Catherine Banning.

- How do you do?
- Hello.

Go to work, Doctor.

Don't glare at me, Michael.

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

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

Monaco.

Mogambo.
I don't give a shit, okay.

It's illegal entry,
theft, trespassing.

- I'm not a cop.
- No, you're not a cop.

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

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

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

What?

Another painting underneath.

Monet reused his canvases.

Monet's unknown masterpiece...

..."Dogs at Cards."

Where is that sack of shit?

Where is he right now?

(BAND PLAYS "WINDMILLS OF YOUR MIND")

(TALKING SOFTLY)

(HUMMING)

Excuse me?

I'm cutting in.

Hmm. It's all right, Anna

I'll see you later.

It's a black-and-white ball.

Oh, I'm sorry.

I wasn't invited anyway.

You left yourself wide open.

You're all flushed.

How many people
can forge a Monet?

Five, maybe six?

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

Oh, but this was
a little too good.

You think you're
just inches away.

I am inches away.

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

I can smell blood on my own.

(LAUGHING)

You smug son of a...

(UPBEAT MUSIC PLAYING)

Yeah!

Do you wanna dance...

...or do you wanna dance?

(EVERYTHING IS NEVER
QUITE ENOUGH PLAYING)

(LAUGHING)

No!

CATHERINE:
Get away! get away!

(PANTING) You are the most
remarkable woman.

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

(LAUGHING)

(SCREAMS)

(CATHERINE LAUGHING)

- Good morning.
- Good morning.

CROWN: Good morning, Paul.

Can I get you anything else?

Not a thing.

Hmm. Thank you, Paul.

CATHERINE:
Thank you, Paul.

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

No.

No.

Damn, I hate being a
foregone conclusion.

You live very well.

Thank you.

It'd be a shame to lose it all.

That depends on
a very large presumption.

Yes, it does.

I won't back off, you know.

Not even for a minute.

I'd be hugely
disappointed if you did.

CROWN: How do porcupines mate?

Old joke. Very carefully.

Carefully or unsuccessfully.

Don't see many porcupines.

Creatures with highly
evolved defense systems.

Like porcupines.

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

If you've found
a female mirror image

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

Think again?

CATHERINE: Good morning.

Nice dress.

Looks like it was a great party.

- Hm-mm
- (PARETTI LAUGHS)

You gonna be a cliche?

Did you even think twice?

No.

You knew what you were doing.

My job.

He likes me.
He'll keep liking me.

Keep him right next to me.

And you don't care
what that makes you?

I know what I'm doing.

Do you really?

This is just about money, Mike.

(EXCLAIMS)
He's got a problem.

CATHERINE:
I could get used to this.

CROWN: Yeah, you just hold on now.

Hold on? Why?
(CATHERINE SCREAMING)

All right!

You're gonna take the stick.

Oh, I'm not taking...

Take the stick.

I'm not taking...

- Put your hands on the stick.
- Oh, no.

Now, just put it right...
That's it. That's good.

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

(SHRIEKING)

Head for that hill over there.

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

Don't lose it.
There you go.

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

CATHERINE:
Oh, this is great.

I'm in your hands.

Just feel that.
Feel that movement?

I do.

To the left.

CROWN: Pick up a thermal
coming over the hill.

Just like a hawk.

(MOOING)

Cows.

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

That island isn't Manhattan.

It's not?

CATHERINE: No.

I have appointments.

Wanna keep 'em?

(SPEAKING FRENCH)

Door's welded.
Throw your leg over.

Throw my leg over?

(ENGINE STARTING)

(CABAN LA KA KRATCHIE PLAYING)

(INAUDIBLE)

CROWN: So this building is old...

Oh, that's beautiful.

Right here.

(WHOOPING)

CATHERINE:
Oh, this must go over.

CROWN: With whom?

Whomever you bring here.

I never bring anyone here.

Voilà.

(LAUGHING)

I bet they're all my size, huh?

Could be. Might be off
a little here and there

but, uh, I think they'll make do.

I'll go make dinner.

Come on.

You want some wine?

Yes.

Whoo, it's beautiful!

Wanna see it?

No.

- Are you sure?
- I'm sure.

Would you like a splash?

Come here.

CROWN: Wanna see it?

No.

You sure?

You think I believe you'd leave
your hard-stolen painting lying...

...around a Caribbean hut?

What if I did?

And that you'd tell me?

Well, what if I trust you?

You know you can't.

You don't believe it's possible

that you could
ever trust me, do you?

You know how likely
I think that is?

Excuse me.

(CLEARS THROAT)

Should I open another bottle?

Hmm.

Yes.

I think so.

I think so.

'85 wasn't very good.

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

Truce.
A truce would be good.

(CATHERINE) That'd be great.
That'd be good.

What was it?

It's a nice little Renoir.

Oh.

Renoir.

Nice little copy?

We'll never know, will we?

Okay, I give up!

Easy, easy.

Think I'll get that bottle.

Oh, yeah.
That would be good.

(LAUGHING)

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

(INDISTINCT FRENCH)

You've complimented me.

How?

They were bankers.

Who?

Who? The suits.

You're transferring assets.

Getting ready to run.

And suppose I did run?

Then what would you have?

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

Yes.

Suppose I gave you ten.

(CHUCKLING)

To fail?

How would I hide it?

I'd teach you.

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

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

CROWN: Well,
if you count Wall Street,

pretty big.

If you mean art

I'm just an amateur.

Beginner's luck, huh?

Gentleman jockey wins the derby.

Something like that.

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

How are you gonna get out of it?

It's just a game, love.

Just a game.

- McCANN: Nice tan.
- Thanks.

I went to the beach a couple days.

On the job?

That's right.

And did you, uh, pick anything up?

Well, he's got an ornament
worn by Frederick Barbarossa

at his coronation in 1152.

Really?

Stolen?

No.

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

That was it.

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

Or after he left you last night?

Not really.

Okay, suit yourself.

Michael.

She's, er,...

...striking.

He seems to think so.

Three dates in six days.

Where does he find the time?

You okay?

Yeah.

You know, I was okay once.

My girlfriend, er, got drunk.

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

...married.

Yeah.

I told people I didn't care and, uh,

and then I fucked five women
in three days,

flipped my car on an on-ramp,

beat a suspect unconscious,
got suspended.

But um...

I was okay.

Is there a point to this story?

Now, they both had to come
out of the same building.

Right. But he was with him.

What's this?

Photos of the borders
of the Monet.

The borders?

Before insurers
indemnify a painting,

they remove it from the frame
and photograph the borders.

Borders are never
seen in galleries

or auctions,
so if a picture is stolen

and someone tries to
pass off a forgery,

the borders won't match.

And if the borders
do happen to match?

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

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

Well, then we find the forger
and nail the bastard.

McCANN: How long
have you had these?

Five days.

And you didn't open them?

Yeah, well, they're open now.

(PIANO PLAYING)

(PEOPLE CHATTERING)

It's beautiful.

You're not gonna say...

"I couldn't possibly"?

No.

I, er...

I wouldn't say
anything that boring.

She's an old friend, but

it'll be like having
dinner at a morgue.

You know, it occurred to me,

I might be able to bear it
if you came with me.

Tomorrow?

That's so soon.

I sense hesitation.

No.

No.

Do you find my
company monotonous?

(LAUGHS)

No.

Because I'd hate
to think you could.

What, be bored by you?

Require a little variety?

You're referring to Anna.

(CHUCKLING)

They photographed me with Anna.

You know,
that's your prerogative.

I thought they were.

I let it happen.

- You wanna know why?
- No.

- I'll tell you why
- I don't want to know why.

- I wanna tell you.
- You know what?

I don't wanna know why.

Jimmy,
I'd like to get out.

- Jimmy, keep driving.
- Jimmy, could you stop?

CATHERINE:
I don't wanna know why!

CROWN: Just let me tell you why!
- No!

Ah, shit.

Now ask me why!

I don't wanna know!

You're upset about it.

Yeah, I'm upset because
you wanted me to be upset.

I needed you to be upset.

Ho, ho, he's sadistic.
Who knew?

Did it ever occur to you
that I needed to know?

Know what?

Know whether all it was to you
was the painting.

How else could I know?

What about you?

I can leave here tomorrow.

So can you.

We'd be fugitives.

Fugitives with means.

All the difference in the world.

I don't know.

I don't know.

WOMAN: Oh, dear.

Peter Pan decides to grow up...

...and finds there's
no place to land.

The only sad part is,

if she's anything like you,

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

Hey, let's go.

Where?

The painting's borders
match perfectly.

Then again,

I'm sure you knew that,

didn't you?

Come on.
Let's go meet some forgers.

I was never an impressionist.

Anyway, I pay taxes now.

McCANN: Doing what?

Portraits.

Inserting the rich
into old masterpieces.

The wife's face
on the Mona Lisa.

From Brooklyn to Greenwich
in one generation,

you gotta have
the paintings to match.

So, uh, who did it?

The German.

Heinrich...

CATHERINE: Knutzhorn.

Art's a small world, Michael.

So who do you think did this?

Friedrich Golchan.

He said you did.

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

and the guards just
think it's therapy

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

What?

What?

Nothin'.

What?!

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

Give.

There's nothing.

You know what?

Life is full of
shitty conflicts, okay?

Give.

I just wondered...

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

Between Crown and that old man?

Yeah.

(CAMERA CLICKING)

You are spooky.
You are really spooky.

They owned a gallery together...

Crown and Knutzhorn.

In Berlin, 1990.

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

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

The artist is Knutzhorn.

So?

So look at the first name.

Tyrol Knutzhorn.

Yeah, we spoke to a Heinrich.

You know what it was?

The way he smiled
at the painting?

Pride.

Paternal pride.

I bet you it's his son.

McCANN: Son of a great forger

who paints as well as dad.

Just hasn't been caught yet.

Well, I assume if you look

you'll find Tyrol Knutzhorn
lives in New York.

You know what? I...

I owe you an apology.

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

Well, you don't know me.

Yeah, but I should have.

I bet you'd stand
at the Pearly Gates

and kick St. Peter
right in the teeth

before you'd let
somebody play you.

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

If I had to be gone,
and I mean seriously gone,

in about eight hours,

how much could I take with me?

- HAROLD: Are you all right, Catherine?
- Harold.

You'll be taking
an enormous loss

if you liquidate
like this. Understand?

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

But what could I leave with?

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

Okay.

McCANN: Leavin' us?

No, you're not that lucky.

I'm organizing.

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

No?

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

You think that's
just a coincidence?

Could be.

Yeah.

Probably is.

Hmm.

Look, here's an extra hundred.
Just go, go!

- Paul, is he here?
- He's in a meeting at the moment.

- It's very important.
- If you wait in the living room.

I'll get him.

Ma'am, wait.

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

I just can't find
the bloody plug adaptor.

Would you go downstairs, Anna,
and ask Paul...

(DOOR CLOSES)

Well... we seem
to have backtracked.

- No!
- No.

Take your hands off me!

Come on,
what do you have that's fresh?

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

Anna works for me.

Oh, you never thought
I was a fool before.

She's here because
I owe her money

and I wanted to pay her
before I go.

- Oh, really?
- Hm-mm.

And what is it she does for you?

I would be
compromising her to say.

Oh, Tommy,
you're going away together.

No, I'm going with you.

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

How can I possibly trust you?

I'm not gonna ask that.

I'm gonna trust you.

Isn't that what
you wanted, my trust?

Tomorrow afternoon...

...I'll put the Monet back.

(LAUGHING)

Where?

Hanging back on the wall
in the museum?

Yes.

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

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

We're only for each other.

Back on the wall in the museum?

Yes.

And you'll meet me at 4:00

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

Or...

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

I'm trusting you.

I can't.

I can't do that!

Damn you, you son of a bitch!

(CRYING) Get away!

(THUNDER RUMBLING)

Hey.

Hi.

I need to talk to you.

- McCANN: Paretti.
- Yeah.

You're in the lobby, right?

Yeah, Mikey, I'm here.

Me and about 30 other guys.

Let up on yourself.
You did the right thing.

Assuming the
son of a bitch shows up.

(SIRENS BLARING)

Mark, stay with the car.

Get a uniformed man
on the fire escape.

Got it.

Detective.

Shh...

Yeah.

Oh, god damn it!

She leave anything behind?

Alright.
Just stake out the whole place.

Maybe she'll come back again.
I don't know.

No, no, no.

Is Jack there?
Put Jack on the phone.

Get Jack.

- What?
- Forger.

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

Jack ran it down this morning.

It was a daughter, not a son,

and she was under our
noses the whole time.

Tyrol, Anna, Knudsen,
Knutzhorn, whatever.

Crown's known her
since she was ten.

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

Put her through college,
for Christ's sake.

Now she works for
one of his companies.

Jack, hey, here's what
I want you to do, okay.

He's in.

Got him.

McCANN: I'll call you back.

That's him.

Overcoat and briefcase.

Yeah, Mikey, we got him.

Center entrance.

Gray overcoat.

Bring up the lobby
on the big monitor.

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

Thomas.

What the hell's he doin'?

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

Let's play ball.

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

Go. Move it.

Quietly. Excuse me.

Excuse me.

Shit, he switched the painting.

Stay with the painting.

What? Look, man, I can't...

Shit! Back there's another one.

MAN: Where is he?

What the hell...

There's guys with bowler hats...

All over the goddamn place.

Did you warn him?

What? No.

- McCANN: Did you warn him?
- No!

Then he knew you were
gonna betray him.

Oh, shit. They're going
for the staircases.

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

Son of a bitch. Stay with him.
This man disappears,

it'll be 10 years
before he surfaces again.

Is the impressionist wing
sealed off?

- Completely.
- Completely. There's no way to get in?

If the gates down.
We got men on the roof.

If he tries to put
the painting back,

I guarantee it won't be
in that room.

Got 'em coming
out of the woodwork.

I know. What's the deal?

(SINNER MAN PLAYING)

♪ Oh, sinner man, ♪
♪ where you gonna run to? ♪

♪ Where you gonna run to ♪
♪ all on that day? ♪

♪ Will I run to the rock? ♪

♪ Please hide me I run to the rock ♪

MAN 1: There's another one.

MAN 2: He's going
the other way.

♪ Please hide me I run to the rock ♪

♪ Please hide me all on that day ♪

♪ But the rock cried out ♪

♪ I can't hide you ♪
♪ The rock cried out ♪

- What?
- McCANN: Where are you?

What? I can't hear you.

♪ I ain't gonna hide you ♪
♪ all on that day ♪

♪ I said "Rock," ♪

♪ "What's the matter ♪
♪ with you, rock?" ♪

♪ "Don't you see I need you, rock" ♪

♪ All on that day? ♪

♪ So I run to the river ♪

♪ It was bleeding ♪
♪ to run to the sea ♪

This is ridiculous.

He's got us running
around in circles.

♪ It was bleeding all on that day ♪

♪ So I run to the river ♪

Paretti's trying to reach you.

- Look, man, I can't...
- Yeah, I know. You're fucked.

I'm coming down.

♪ It was boiling all on that day ♪

♪ So I run to the Lord ♪

♪ "Please help me, Lord" ♪

♪ "Don't you see me praying?" ♪

What do we do?
What do we do?

Start arresting people.
Come on.

Excuse me, sir.
Uh, One moment, sir.

Shit!

♪ So I ran to the devil ♪

♪ He was waiting ♪
♪ I ran to the devil ♪

♪ He was waiting all on that day ♪

(ALARM BLARING)

I knew it. Excuse me.

♪ (SINNER MAN CONTINUES) ♪

♪ Oh, I run to the river ♪

♪ It was boiling I run to the sea ♪

♪ It was boiling all on that day ♪

♪ So I ran to the Lord ♪

♪ I said, "Lord, help me" ♪

♪ "Please help me" ♪

♪ "Please help me all on that day" ♪

♪ He said, "Child, where were you" ♪

♪ "When you ought to be praying" ♪

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

♪ "Hear me praying, Lord, Lord" ♪

- We're coming through.
- MAN: Okay, lock up...

Get the civilians out of here, man.

♪ Sinner man, ♪
♪ you ought to be praying ♪

♪ Ought to praying, sinner man ♪

♪ Ought to praying all on that day ♪

How do we get this gate open?
Get everybody...

Yeah, kill the sprinklers
in the impressionist wing now!

PARETTI: Turn off the radiant now!
Turn it off!

It's false alarm.

(COUGHING)

It's water paint.

PARETTI: It is been here
the whole time.

MAN: Open the fire curtain...

From what, one, two days
after the robbery?

There's something
jammed in the track.

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

(CREAKING)

MAN: Er, Sir?

- Oh, Lord.
- Oh, dear.

This... This can't be.
It simply can't be.

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

McCANN: Where are you goin'?

Oh, office.

Write up my report.

- The job's done, right?
- Yeah.

So, the other painting, um,...

...why do you think he chose
that particular one?

I have no idea.

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

Obviously, you'll still
have to pursue it.

I don't really give a shit.

You don't care if you catch him?

Well, I'll do what they tell me to do.

Did you ever care?

Yeah.

He pissed me off.

But look,...

...the week before I met you...

...I nailed two crooked
real estate agents

and a guy who was
beating his kids to death.

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

that are really only important
to some very silly rich people

I don't really give a damn.

You're a good man.

Okay. Get out of here.

And tell him I said hello.

I have no idea what
you're talking about.

Go on.

And don't stiff us
for your phone bills.

No.

Taxi!

(HONKING)

You know, I'm just gonna run.

Thanks.

Excuse me.
MAN: Sorry.

You can't go out there
without an escort. Ma'am!

CATHERINE: Tommy!

You would be Catherine?

Yes.

He wanted you to have this.

Good day, ma'am.

Hi, there.

How can I help you?

I have a reservation.

Okay, Miss Banning.

Will you be carrying
any luggage today?

No.

Can you see that this

gets to this man at
police headquarters?

This should take care of it.

It probably won't get there
until the morning.

That's fine.

Departures for international flights

are up the escalator
to your left.

Ma'am,

is everything all right?

Everything's fine.

(JET ENGINE HUMMING)

(SOBBING)

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

Did you set this up?

Did you set this up?

Did you set this up?
Did you?

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

(SIGHS)

I'll tell you what.

You pull a stunt
like that again,

I'll break both your arms.

(WINDMILLS OF YOUR MIND PLAYING)

♪ Round, like a circle in a spiral ♪

♪ Like a wheel within a wheel ♪

♪ Never ending or beginning ♪

♪ On an ever spinning wheel ♪

♪ Like a snowball down a mountain ♪

♪ Or a carnival balloon ♪

♪ Like a carousel that's turning ♪

♪ Running rings around the moon ♪

♪ Like a clock ♪
♪ whose hands are sweeping ♪

♪ Past the minutes of its face ♪

♪ And the world is like an apple ♪

♪ Whirling silently in space ♪

♪ Like the circles that you find ♪

♪ In the windmills of your mind ♪

♪ Like a tunnel that you follow ♪

♪ To a tunnel of its own ♪

♪ Down a hollow to a cavern ♪

♪ Where the sun has never shone ♪

♪ Like a door that keeps revolving ♪

♪ In a half forgotten dream ♪

♪ Or the ripples from a pebble ♪

♪ Someone tosses in a stream ♪

♪ Like a clock ♪
♪ whose hands are sweeping ♪

♪ Past the minutes of its face ♪

♪ And the world is like an apple ♪

♪ Whirling silently in space ♪

♪ Like the circles that you find ♪

♪ In the windmills of your mind ♪

♪ Keys that jingle in your pocket ♪

♪ Words that jangle your head ♪

♪ Why did summer go so quickly ♪

♪ Was it something that you said ♪

♪ Lovers walking along the shore ♪

♪ Leave their footprints ♪
♪ in the sand ♪

♪ Was the sound ♪
♪ of distant drumming ♪

♪ Just the fingers of your hand ♪

♪ Pictures hanging in a hallway ♪

♪ And a fragment of this song ♪

♪ Half remembered names and faces ♪

♪ But to whom do they belong ♪

♪ When you knew that it was over ♪

♪ Were you suddenly aware ♪

♪ That the autumn leaves ♪
♪ were turning ♪

♪ To the color of her hair ♪

♪ Like a circle in a spiral ♪

♪ Like a wheel within a wheel ♪

♪ Never ending or beginning ♪

♪ On an ever spinning wheel ♪

♪ As the images unwind ♪

♪ Like the circles that you find ♪

♪ In the windmills of your mind ♪

♪ Pictures hanging in a hallway ♪

♪ And the fragment of this song ♪

♪ Half remembered names and faces ♪

♪ But to whom do they belong ♪

♪ When you knew that it was over ♪

♪ Were you suddenly aware ♪

♪ That the autumn leaves ♪
♪ were turning ♪

♪ To the color of her hair ♪

♪ Like a circle in a spiral ♪

♪ Like a wheel within a wheel ♪

♪ Never ending or beginning ♪

♪ On an ever spinning wheel ♪

♪ As the images unwind ♪

♪ Like the circles that you find ♪

♪ In the windmills of your mind ♪

♪ Pictures hanging in a hallway ♪

♪ And the fragment of this song ♪

♪ Half remembered names and faces ♪

♪ But to whom do they belong ♪

♪ When you knew that it was over ♪

♪ Were you suddenly aware ♪

♪ That the autumn leaves ♪
♪ were turning ♪

♪ To the color of her hair ♪

♪ Like a circle in a spiral ♪

♪ Like a wheel within a wheel ♪

♪ Never ending or beginning ♪

♪ On an ever spinning wheel ♪

♪ As the images unwind ♪

♪ Like the circles that you find ♪

♪ In the windmills of your mind ♪