All language subtitles for Deception.2018.S01E03.Escapology.720p.AMZN.WEB-DL.DDP5.1.H.264-NTb

I'm Cameron Black.

I was the world's
greatest illusionist,

while nobody knew I had a twin
brother behind the scenes.

Until the night
he was framed for murder.

Jonathan: After the wreck,
I tried to save her.

She wasn't the woman
from the car.

This body was
a different woman.

I knew it wasn't an accident.
I was set up.

Now I've teamed up
with the FBI.

You're Cameron Black. That's Agent Kay Daniels.

I know a few tricks, too. And we have a deal.

She helps me prove
my brother's innocent,

I help her solve
the kind of crimes

only a master of deception
could crack.

I feel like we should be
chasing somebody.

Thankfully,
I don't work alone.

For my team of illusionists,

there's no criminal
we can't trick,

no killer we can't track.

Like I always say,
"Nothing's impossible."

♪♪

Some people doodle hearts
on napkins.

My brother and I --

We plan escapes.

Comes with being a magician,
I guess,

and kind of ironic now
that he's stuck in prison.

But on some level, don't we all dream of escaping?

Not from prison, maybe,
but from our everyday lives?

We feel trapped.

We dream about leaving
a dead-end job

or breaking free
from our daily routines.

That's why people love magic,

because we crave surprise,

an escape
from the predictable...

that one moment
when we genuinely don't know

what'll happen next.

No, no, no, no!

That's how we know
we're alive.

Oh, God!

♪♪

--Captions by VITAC--

♪♪

Four paintings, four explosives,
and one trapped employee.

Someone overrode
our security gate.

We can't lift it.What about your cameras?

Frozen
for 12 minutes.

The museum was empty,

so the guard on duty
didn't notice.

But nothing was taken.
None of this makes sense.

Not yet,
but it will.

♪♪

Francis: If you could, um...

♪♪

Agent Daniels?

Uh, Francis Cornish,
museum curator.

Sorry, I'm a little shaky.
I-I thought I was a pro at this.

I was here for
that burglary in '09.

But to have explosives
in there...

I'm just so scared
for the art.

And for Joan, of course.

♪♪

Joan?

I'm Kay.

How you doing?

Am I gonna die in here?

No.

Hey, our job is to make sure
that doesn't happen.

♪♪

I don't know why some lunatic
did this,

but we can't wait
to find out.

We got to get her
out of there.

How?
The gate's locked down.

Even the bomb squad
couldn't get through it.

We need
an escape artist.

♪♪

♪♪

Vera: Cameron Black.

Mm.

Are you trying to escape?

Me? No.

I was just, uh...
just gonna make breakfast.

Mm.

Well, you know what's better
than breakfast?

Vibrating pants.

Nice trick.

Thanks.

I also got a bunny
in here.

Ooh.

Hello?

It's Kay.
We need you.

Sure, yeah.
I'll be right in.

Just give me an hour?

No! Now!
We're on a clock.

There's a car waiting
for you outside.

Kay, I'm not, uh --
not actually at home.

We're the FBI, Cameron.

We know where you are.
Just get in the car.

♪♪

Huh.

Well, Vera...

I'm afraid I have to go.

The FBI needs me.

Kay: The good news is that
the bombs are shape charges,

so the explosions
won't reach us out here.

The bad news is that
they're on a remote trigger,

so if you can block
the frequency...

We can't find it.
Stan Hill, bomb squad.

We have to get inside
to disarm them.

-That won't work.

Dale Soto,
museum security.

That gate's
reinforced steel.

And the motor's
totally shot.

We can't pull it.

Won't need to.Jeez, Cameron!

Cameron Black,

Master of Deception
and Escapology.

My plan is to break
into your gallery,

save your docent
and the art,

and get them all out
before everything goes boom.

♪♪

That was quite
an entrance.

Is there any other kind?

Don't do anything until
you check with me first.

Wouldn't dare.

Can you reallyget me
out of here?

Absolutely.

Escape is kind of
my thing.

I mean, usually,
there are sharks

or I'm a coffin --
one time there was both.

That was problematic.
But this? No sweat.

♪♪

Really?

♪♪

Hey, Joan.

There's only one way
this thing ends,

and that is with you safe
on the other side of these bars.

Promise you that.

Hello

Uh...

Wait.

It's for you.

Man: How are my hostages doing
It's him. Get him.

Can you
be more specific?

Cézanne, Pissarro, Rousseau...

You're holding
the paintings hostage.

Not to mention whoever
triggered the gate.

Nothing like
a human insurance policy

to make sure
you follow the rules.

Which are?

Wire $120 million to my account
in the next two hours.

Do not touch the gate
or attempt a rescue.

I need a guarantee that you
won't hurt the person inside.

How's this
for a guarantee?

Do everything I just said
or I blow the whole room.

Did we get a trace?

Did everyone get that?
No one touches the gate.

$120 million?
There's no way.

Our best play is
to find this guy

before the can
detonate anything.

Start with museum employees.
Whoever did this had access.

Mike:
I'll play back the call.

Maybe we can get a clue
to his location.

Here, while you guys
are doing that,

I'm going to head
to the museum shop,

get some fridge magnets.

♪♪

Little faith, guys.

I promised Joan I'd save her.
I'm go

You realize
it might not work.

No, all I got to do is get
in there, and I'll --

I'm sorry.
That's impossible.

Okay, you give worse pep talks
than my team does.

Only one man has ever broken
in there with the gate down,

and we still don't know
how he did it.

Where is he now?

Rockland Correctional
doing 15 to 20.

They caught him,
eventually.

Rockland Correctional?

No way.
It's too risky.

Kay, Johnny's there.

I can find the guy,

figure out how
he got past the gate.

And what happens when
his fellow inmates

find out he's been
helping the FBI?

He'd be enemy
number one.

♪♪

It's a last resort,
okay?

♪♪

What is it?

The cameras.

Look, those three are the same,
but that one,

that one over there...

They're different models.

Museum security uses high-end
day/night cameras.

But these two look like
they've just --

Francis.

Those two.

They're not yours,
are they?

No, why would...

Oh, no.

We're being watched.

♪♪

Joan, need you
to step back, okay?

Why?
-Joan, let go of the gate.

What did I say about the gate

I guess I'll just have
to prove it.

No, no. Don't do this.

There's an innocent woman
in there.

I know.
I'm looking at her right now.

She seems to like the Cézanne.

I've never been
a fan myself.

He's going to blow the Cézanne.

No! Please!

Joan, get down.
Joan, on the floor now!

♪♪

♪♪

You all right?

Looks bad.
Can I get you a bandage?

No. I, um...

I don't want him
to see and...

Can he hear us, too?

No. It's just visual.

They're going to snake
a camera up there

so we can see what he can see
and figure out how to fight him.

In less
than 90 minutes?

Okay, you haven't seen
my TV specials,

so I'm gonna let that slide,
'cause if you had,

you'd know I've done way crazier
in way less time.

♪♪

Right, the sharks.

No, no, those weren't
for a TV special.

Those were just for fun.

♪♪

You're a docent.

Why don't you tell me
about this one?

Um...well, that one was
painted in 1873,

and it really set the tone

for all the French landscapes
that followed.

What kind of tone are they
going for

That's what
I'm getting from it.

Kay, what do you think
of the blurry village?

You mean
View of Pontoise?

Sure. Wait.
How'd you know that?

Mike's got the video up.

Okay, Joan. One second.

♪♪

Okay, this is what
our bombmaker sees.

From this camera here,
he watches the gate.

And from that one up there,
he sees the center of the room

and the wall
with the three paintings.

Oh, okay.

Perfect.

We can do a Von Liebig.

A Von what?

Bad guy's watching the room
like a hawk, right?

So, what we do is,
we trick his camera

into thinking everything's
totally normal,

and then...

While you break Joan out.
How?

That's the magic part.

Dina: Awaiting your
command, darling.

All right, I need a Von Liebig.
Bendable.

Ha! That's inspired.

It's insane.
A bendy Von Liebig?

Cameron: I'm also gonna
need a Moving Floor.

Never heard of that one.

Yeah, that's 'cause
I just made it up.

Lovely. All right, Gunter,

I'm gonna send you specs
of the room and a camera angle.

I'm thinking
a perspective illusion.

Cameron, none of this
is gonna matter

if we can't get into the gallery
in the first place.

And I'm looking over
the blueprints.

There is no access.

Yeah, I know.

I think it's time
to call Jonathan.

Wh
What's he going to do?

There's an inmate
at Rockland

who broke into
this gallery before.

I'm hoping Johnny can find him,
get some intel off him.

Well, that sounds risky.
Do you think he'll do it?

Only one way
to find out.

Let me guess --
You found the Mystery Woman,

I'm being released,

and the mayor is giving me
the key to the city.

The opposite,
actually.

Oh, the key
to his beach house?

This is
kind of serious, Johnny.

I need to ask a big favor.

And there's nothing
in it for you.

But an innocent woman's life
is at stake.

I hate you.

All right, he's in.

Now we get to work.

Abe: The hell happened
to my painting?!

Uh-oh, rich people.

I'm guessing angry dad,
embarrassed son.

That's never good.

They must be the Dietrichs.

Francis was dreading
their arrival.

Who are the Dietrichs?

They own
the blurry village.

Francis: Mr. Dietrich,
I am so, so sorry.

Sorry?
My priceless Cézanne,

my legacy,
is a charred pile of ashes.

You owe me $40 million.

Dad, you can't call it
"priceless"

then put a price on it.

Agent Kay Daniels, FBI.

Charlie Dietrich,
the less important one.

This is my father, Abe.

Tell me that
you can save the art.

Ransom has been set
at $120 million.

120

I cannot liquidate assets
that quickly.

Then stand back
and let us do our job.

And just so you know,

our job is to save
the innocent woman.

The art comes second.Does your job include

whatever that man is
doing over there.

Who is that?

Joan's best chance.

Is this the Von Liebig?

We're four mirrors down

and, like, 28 years
of bad luck.

Can we, please,
try my way now?

We use a program that
mimics a mirror.

We hold it up
to the camera --
No!

Real mirror.

For God's sake,
the trick's named

after the inventor
of the modern mirror!

Cameron: Guys!
Would you just bring

whatever you got to the museum, and I'll figure it out.

We're running out of time.

You want to tell us
the next time

you got the boss
on speaker?

No, that pretty much
accomplished

what I needed it to.

Cam, what about
that prisoner at Rockland?

Have you heard
from Jonathan?

No.

But we will.

♪♪

You're the magician.

You're the master thief.

If I was a master,

I'd be meditating
in the Hamptons

instead of a prison yard
with guys like you.

Nobody here is like me.
Let's talk.

♪♪

Mike, all the employees
came back clean.

There's something
we're missing.

I ran the Dietrichs, too.
Nothing popped up.

You still think
an inside job?

We all know the rumors, Francis.
The rumors.

I'm not gonna
dignify that.

You want to ask me
that question again?

Go deeper on Francis --

phone records, e-mails,
finances.

♪♪

Quite a pair, those two.

Honestly, it's like
the Real Philanthropists

of New York City in here.

That rumor your father
mentioned...

There was talk
in the art world,

before that heist
here in '09,

that Francis had just discovered
a new Da Vinci sketch

in a shipment of old masters --
never seen before.

Rumor is, it got caught up
in the heist,

hidden somewhere,
and that...

Francis was involved.

Yeah, but, hey, they caught
the real thief, right?

♪♪

Why do you want to know

about the northwest gallery,
specifically?

Call it a professional
curiosity.

And if I tell you
how I broke in?

You'll satisfy
that curiosity.

Okay, the deal is this --

If I need a favor,
you'll do it for me,

whenever, wherever,
whatever I want.

You understand?

It sounds...

wildly unfair.

I guess that depends
on how badly

you want this information.

All right.

Fine.

There's secret crawl space
that was built into the gallery.

It's not on the maps,

but you can access it
through the ceiling

of a storage room
on the first floor.

Come on.
I'll draw you a map.

♪♪

♪♪

♪♪

♪♪

Is this the right place?

It's the only storage room
on this floor.

You see anything?

No, damn it!

It's got to be here
somewhere.

Cameron, we're out of time.

Maybe Jonathan's guy
was wrong.

We need to figure out
a new plan.

Yeah, I know,
and you warned me.

It's the real world, right?
People get hurt.

Damn it, Kay!
What are we going to do?

I'm gonna ask
for more time.

Wait, no.
No, no, no, no.

This room is --
This room is, what,

10 paces across?

The gallery is 45.

Is that what you were doing
upstairs

The intel's not wrong.
We're just in the wrong place.

What is 35 feet
to the west of here?

♪♪

Guess.

♪♪

Excuse me, this is --Your office, I know.

And I've got questions
about that.

But right now,
I need you to move back.

All right, I am sorry for
whatever's about to happen.

-Cameron!
-In here!

All right, it should be
somewhere around there.

'Scuse me.

You guys got here fast.

Dina: Yep, the police escorts
really helped.

We drove so fast!

Aha!

Did you know
this was here?

What? Uh, no!
Hey! Excuse me.

Sit down.

We're going to talk you through
Jonathan's map.

It's about 90 seconds
of crawling

before you reach the gallery
and then...

Pop out into a room
that could go boom any second.

♪♪

We've got 10 minutes
before he blows everything.

Take this.

All right.

♪♪

All right.

Gunter,
let's do this.

♪♪

♪♪

It's too bulky.
I'll be fine.

♪♪

Dina:
Okay, turn right.

♪♪

10 to 12 feet down on the left
and turn left.

I stuck a GPS tracker
on him.

Not sure he even noticed.
He hates them.

Yeah, Dina used to have me
plant trackers on him,

you know, after Jonathan
went to jail.

Jordan,
don't tell her that.

Left.

♪♪

2 more feet.

Stop.

♪♪

♪♪

Cameron: Hey!
Don't look down.

Just act like everything's
totally normal.

Nothing about this
is normal.

Where are you?
What are you doing?

Something impossible.

♪♪

All right.

Turn around very slowly.

♪♪

Now, everything is gonna feel
like it's in slow motion

for a few minutes,

and then, it's going
to speed way up.

You ready?

I don't know.

That was rhetorical.

I'm gonna keep talking
the whole time, all right?

Less than eight minutes --
Tell him to speed it up.

Dina, would you tell Kay
there is a very specific way

that I like to be directed
during a trick?

I don't care.

She doesn't care.

Yeah, heard that.
Very good.

♪♪

♪♪

Mike: You can't see it!

♪♪

How long you been
a docent?

♪♪

Whoa.
It tricked the camera.

Mm-hmm.
Pretty cool, huh?

Don't tell Gunter
I said that.

Okay, Cam,
you're off camera,

but you've got to move,
and stay tucked.

How are you so calm
right now?

'Cause I know
we're gonna be fine.

Eh, a slight chance
we'll end up in the hospital.

Put your foot right there.
Put a little pressure.

Thank you.

You know, honestly,

even if I did wind up
in the hospital,

would anybody care?

All right, well, the award
for most depressing comment

while I'm trying to save
her life goes to...

I guess that's my answer
to your question.

I've been a docent
for way too long.

Why don't you quit?

I love this museum.

I love the art.

But...

Never mind.

Come on.

Joan, what do you want?

I want to be
an art restorer.

I want to, like,
travel the world

and not be stuck in this room
and just --

Cameron!

♪♪

Did he see?
That was my fault.

No. Nah.
That was awesome.

Joan, everything
you just said,

I want you to do it,
all right?

Don't just talk about it.

What are you doing?Promise me you'll do it.

Yeah, I will!

Get down!

Fantastic. Dina?

Dina: Yep.
You've made it off camera.

Cam, you've got under six
to complete the Von Liebig.

What happens now?

Cue Cam's
bag of tricks.

♪ Awoo

♪

♪♪

♪ I know I did not
raise a wrist ♪

♪ I know I did not capture it

♪ It came, it went

Mike: Are those
paintings backwards?

Yeah, we had to print them
inverted

to make the illusion work.

♪ And then I quit

♪ Awoo

♪ I know I did not
raise a wrist ♪

♪ I know I did not...

All right, here we go.

Joan, please, uh,
don't be offended.

♪ I was there and then I quit

I think I need
to sit down.

Okay, perfect.

Can you, uh...
Can you face that way?

♪ It went, it conquered quick

♪ I was there and then I quit

♪ Aaah

Hands back.That's like looking in a mirror.

Speaking of...

♪ Awoo

♪♪

♪♪

♪ Aaah

This is when everything
speeds way up.

♪♪

♪ Awoo

Dina: It worked.

That's crazy. So...

So -- so the mirror is blocking
Joan and the real paintings.

They're off camera.

And the mirror is reflecting
this wall here.

So, the bombmaker should
have no idea

he's looking at
a completely different wall.

You're amazing.

Th-The trick.
The trick is amazing.

I'll take both
compliments.

♪♪

Where's Kay?

Okay, go.

Do I got time
for the paintings?

No, just get out
of there.

♪♪

Kay, what the hell?

Don't worry, just go.

Are you trying to save
the paintings?

Cameron, just go!

♪♪

The money's been cleared
by insurance.

We're transferring now.

You are lying.

I'm not.
Check your account.

Right now. Go online.

That girl hasn't moved
in 90 seconds.

Something's wrong.
Go.

You're done.

Go!

Everyone get down!

♪♪

-Yeah.

Dina: Where's Kay?

♪♪

Ta

♪♪

It's not over.

We've still got
a bomber out there.

Mike's running down leads
on the crawl space.

Maybe we pull a print
off the explosives.

Okay. Cool.

So, we're just
gonna pretend like

you didn't act like
a total crazy person.

Kay, seriously, I mean,

why would you risk your life
for a bunch of paint and canvas?

That's what it is
to you, maybe.

To me, too.

But some people --
They look at those canvases

and they see whole worlds
in there.

My sister did.

She went to Parsons
before...

♪♪

We had this little easel
when we were kids.

It had two sides,
you know,

so we could each paint
at the same time.

But I would just watch her.

I was never as talented.

Oh, I don't know
about that.

I mean, I saw you do
a police sketch

that was uncanny.

♪♪

I mean, it's no blurry village,
but still...

Caroline.

She loved this museum,

and she loved Cézanne.

You see this piece?

She'd look at the color
and say that...

♪♪

What?

♪♪

I'm taking this back to the lab.
Are you --

Gunter, for the last time,
give me back the evidence.

Why is Gunter
holding a bomb?

Small capacity
remote trigger.

This one had the transmitter
for all of them,

as far as I can figure.

Can you trace
that transmitter

back to where
the signal originated?

Um...

That's what I just said,
didn't I?

Yes, we --
we can do that.

They're the best in the biz,
Kay. You can trust them.

If you really want to find
this guy --Yes, okay.

Sign it out of evidence.
Call me when you find something.

Where's Joan?

Mike: Hospital,
getting patched up.

♪♪

Cameron?

Guess you were wrong.

There is someone
waiting for you.

Thank you.

Th-That means a lot.

And that exciting new life
you wanted?

I think that should
start right now,

with lunch.

Baby steps.

We'll build up to sharks,
I promise.

Can you do that
to a bomb?

We'll find out,
won't we?

♪♪

Further!

I'm already at the door!
How much space do you need?!

Man's got a process.

Uh...Mike,

you haven't had a proper tour
of the place, have you?

♪♪

Um...look, I'm sorry
about Gunter.

He's just...

Yeah, I have no idea
how to finish that sentence.

It's okay.

I've actually wanted
to look around.

I mean,
how cool is this place.

Mm-hmm.
I mean, look at that!

Ah, well, she is supposed
to tell your fortune,

but Jordan did a bit
of reprogramming.

And I found that out
when she insulted my outfit.

Ooh.

What is that?

Ah, that.

That is one of the brothers'
family heirlooms.

Only Jonathan knows
how to open it.

He says it contains
the ghost of Houdini.

Really?
Mm-hmm.

Either that
or it's just a metaphor

for their family baggage.

Speaking from
experience?

Not without four shots
of tequila.

Yeah, takes me six before
I can speak about my wife.

♪♪

Oh. Divorced or...?

Oh, I'm sorry.

Me, too.

Tell me about this.

Oh, that.

Dina: That one,
you can pick up for $29.95

at your local
Duane Reade.

Right.

I'll pick one next time
I need some toothpaste.

Gunter: Yes! Found it!

Get in there!

♪♪

Oh, yeah.

It looks like old
cell technology.

Pretty clever way to fly
under the FBI's radar.

This is something
we can trace.

Great work, guys.

"G
That was all me, pal.

♪♪

♪♪

Mike: Kay, we found
a transmitter on the bomb.

It's a fake, Mike.

The painting that exploded --
It's a forgery.

What?
How do you know that?

Well, I could explain
how hard it is

to duplicate Cézanne's
brushstrokes

or just say that forensic
tested the paint

and it's only
four years old.

That means the real painting's
still out there.

This wasn't
a hostage negotiation.

It was a heist.

♪♪

Tech division traced the chip
from the bomb to this location.

You trust the intel?

Gunter and Jordan's?
Yeah, I kind of do.

♪♪

Freeze!
Federal agents!

♪♪

♪♪

Get an ID
and run down associates.

He wasn't working alone.

You think he got shot by
his partner on the heist?

Or his boss.

♪♪

He worked at the museum.
Custodian.

You were right.

Inside job,
but everyone checked out.

Not everyone.

Send a team
to bring in Francis.

We've got enough
to hold him now.

And get the head of security
back, too.

We need to interview
everyone again.

Whoa.

Jackpot.

And there's a missed call.

Try it.
I'll try Cameron again.

Maybe once a week.

Mm

Sorry.
I know.

Both: Hello?

Joan: Hello?

It's the docent.

Cameron,
get to the FBI now.

Oh, come on, doesn't a guy
deserve a shake

after almost getting blown up
saving some dead impressionists?

Cameron,
the Cézanne was a fake.

The real one didn't
get blown up.

It got stolen.

Joan is our prime suspect.

Oh. Yeah.
No, I'm good.

I'm just hanging here
with Joan.

Corner of Madison
and 23rd.

He's with Joan.

Don't move.
Keep her there.

We're on our way.

Okay, bye-bye now.
Ah.

Just when you think
the work

of a consulting illusionist
is done...

What do you mean?

Oh, no. No.

It's just not the same once you
know how it's done, you know.

This is how people
must feel

when I tell them
how a magic trick is done.

You know, the whole
ingenue thing --

It's good, Joan.
It's real good, but...

you can stop lying now.

Uh...

No, no, don't.
Don't run.

I-I have to.

No.
You don't understand.

I do. I get it.

Johnny feels exactly
the same way.

He wants to run, too,
but you know what I tell him?

A life on the run
is no life...

especially if
you get killed.

♪♪

They're with the FBI.

Hey, Kay.

Yeah, it's all good.
Your guys just got here.

Kay: What guys?

Cameron?

Cameron wasn't where
he said he was.

That doesn't mean
he's dead.

His phone's off
and he's with Joan,

who either just shot
the bombmaker

or is the next person
about to get shot.

Yeah, that doesn't
sound great.

♪♪

Cameron.

Are you okay?

Physically or emotionally?

Cameron --No, no, no, no, Joan.

Every other time I've been
tied up in a car with a woman,

I let her dictate
the conversation.

But you...

You just tricked me,

and that is really
pissing me off right now.

BOLO's out.

Good, tell them
to post surveillance

from Cameron's
last known...

The tracker.

Jordan put a GPS tracker
on him

when he went up into
that crawl space.

You think he still
has it on him?

Dina: Yes, the tracker's
still on,

and we've got him.

He's on FDR Drive at 57th --
no, 58th.

He must be in a car.

♪♪

Listen, everything that
I told you about my life,

it's true.

I just felt trapped.

And I never took chances.

I just started talking
to a guy online.

He was looking
for somebody

who knew art
and wanted adventure.

I'd like a pen.

You'd like a pen?

The guard stole my favorite pen.
I'd like --

I'd like it back.

So, you want me
to rob a guard?

♪♪

Couldn't have
lost your pen

to one of the small,
feeble prison guards?

I wouldn't need you,
then, would I?

♪♪

No way.

It's not gonna happen.

I was supposed to hide
the paintings

and then he would
come get them later

and he would give me
a cut of the profit.

But now...

Oh, my God.

His plan -- It was to kill me
all along, wasn't it?

Yeah, probably.

I am so sorry!

I can't believe
I did this.

We're going to die in here,
aren't we?

Would you calm down, Joan?

Calm down? I'm trapped
in a trunk, handcuffed!

Why aren't you
handcuffed?

Joan, catch up.

You're locked in a trunk
with an escape artist.

You don't think I could
get us out of here?

I could get my brother
out of prison tomorrow.

I thought you said
you told him not to run.

I did.

The truth is,

I've planned eight separate ways
to get him out of jail.

And I've written them all down,
perfectly.

And they would all work.

But you haven't done it.

Not yet, no,
but...

You might?

♪♪

Point is, I'm getting us
the hell out of here.

It's simple.

You either honor
our agreement

or I tell everybody in here
that you're a police informant.

I saw the news story
about the museum.

Nice work.

You okay?

This guy's choking.

He's choking!

Hey!

Show's over.

You okay?

♪♪

♪♪

Don't ever
threaten me again.

♪♪

♪♪

Joan:
They might hear you.

Would you --

This is just man-in-a-box,
all right?

Classic escapology.

I've done this
a thousand times onstage.

Of course, onstage,

I didn't have two guys with guns
who wanted to kill me.

♪♪

We're stopping.
Why are we stopping?

Cameron?

♪♪

♪♪

Where'd he go?

♪♪

Freeze!
On the ground, now!

Don't shoot! It's me.

Cameron?

Felt like going
for a drive?

No, I was kidnapped
by a couple of goons,

thrown in the trunk of a car,

and then I pull off
a very tricky escape,

which was way harder
than I made it seem.

Good timing, by the way.Okay, let's go.

Whoa, you're just gonna
brush past all that?

'Cause I thought it was
pretty impressive.

Cameron, we've got
a killer to catch

and a $40 million painting
to recover.

Oh, right, yeah,
I can probably help with that.

I happen to have
a thrill-seeking museum docent

handcuffed
in the trunk of my car.

♪♪

It's not as bad
as it sounds.

♪♪

All right, careful.
Slowly now.

I wish you would
reconsider.

And I wish you hadn't blown up
a $40 million painting,

but we can't all
get what we want.

I didn't --

Mr. Dietrich...

♪♪

♪♪

Francis: I promise you,

this is the safest possible
place for your art.

Well, good.

Put that in an e-mail
to my lawyer

and explain everything.

We don't have to include lawyers
in this.

Well, why not?

♪♪

♪♪

♪♪

♪♪

You weren't supposed
to see this.

♪♪

Drop the weapon!
Drop it!

♪♪

♪♪

Charlie,
I don't understand.

Of course you don't.

♪♪

It doesn't make sense.
How could this have happened?

Charlie Dietrich confessed
to everything.

He recruited members
of the museum staff --

the docent, the custodian --
to pull off the heist.

As with any good magic trick,
they each had a role to play.

The custodian had been
to engineering school.

He was the bombmaker.

He put them in place and helped
disable your security.

And then, Joan came in
to do her part.

Which was all show.

She had to act trapped,
but really...

She came in prepared
to switch out the fake Cézanne

for the real one.

She loved art,

had been practicing
with canvases for weeks,

so she knew exactly
how to pull it off.

When Charlie's plan fell apart,
they became a liability.

He killed the janitor
and planned the same for Joan,

while he got away
with the painting.

So, the entire heist
happened before

the first bomb
ever went off?

The rest was just performance
to make it took real

and to extort
$120 million.

Why would Charlie
do all this?

He needed love!

Sorry.
Was that too cheesy?

I'm not writing that
in my report.

But, yeah, his father did
call those paintings his legacy

and not his son.

Charlie grew up in the museum.
I thought he loved it.

I'm sure he did.

But it's still possible
to love something

and feel trapped by it.

I mean, maybe you
stay too long.

Maybe your father
loves it so much

that you just don't want
to disappoint him.

Or maybe it's a safe job
you couldn't imagine losing.

By the time you try
to get away...

♪♪

...well, it's too late.

♪♪

Well...

thank you.

Speaking from
experience?

Hmm? No.

I had a totally normal
childhood.

Right.

So, how did you first get
into explosives?

Magicians like a big flash
and a boom.

It's pretty easy,
really.

What?

That's not the real story,
is it?

Gunter: And what would
you know about it?Mike, um...

[ Gunter continues
indistinctly ]

♪ You flipped the page
and slipped away♪

Yeah, it's --
it's for your kids.

I just thought that
they might have fun with it.

"My kids."
Yeah.

Right, because before,

when I said I wanted
one of these,

I really meant
for my kids.

Of course. Of course.

♪♪

Hey.

Hey.

You know, you got
to hand it to Joan.

She put on
a pretty good show.

And she told us where
the painting was.

So, any chance of
a lighter sentence?

I already called the D.A.

You want visiting
rights, too?

I guess I just...

understood her,
you know.

I mean, people who feel trapped,
they start to act recklessly.

And...well,

they'll do pretty much anything
to escape.

What about Jonathan?

Have you ever thought
about helping him escape?

♪♪

♪ You didn't even call me...♪

Honestly...

no.

Good.

'Cause I'd track you down.

I'd expect nothing less.

♪ Sweet dreams♪

♪♪

♪♪

♪♪

♪♪