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How to Steal a Million 1966 Comedy / Crime Movies Full Movie

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    Sold. $90,000 to this gentleman
    in front of me just here. Thank you, sir.
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    And now, ladies and gentlemen...
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    number 34 on the front cover
    of your catalogues.
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    Color plate 16.
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    Portrait of Madame de Nemours
    by Cezanne.
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    Now, because of the interest
    in this painting...
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    we are keeping telephone lines open
    to our buyers in London and New York.
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    This great painting is from
    the world-famous Bonnet collection...
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    sold by order
    of the present head of the family...
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    Monsieur Charles Bonnet.
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    Now ladies and gentlemen...
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    who will start this superb
    Postimpressionist masterpiece...
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    at $200,000?
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    $210,000. $220,000!
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    $230,000. Thank you.
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    Now who says $240,000?
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    Thank you very much.
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    Who says $240,000?
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    Thank you. $240,000
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    $260,000.
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    $270,000.
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    ...equal this record
    in the coming three months.
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    And now, in the world of art...
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    in an auction
    of notable lmpressionist masterpieces...
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    the highest price paid
    was for a Cezanne portrait...
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    from the great private collection
    of Charles Bonnet...
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    sold after spirited bidding for $515,000.
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    The buyer,
    himself a notable art collector....
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    -Good evening, Marcel.
    -Evening, mademoiselle.
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    -ls my father home?
    -He is upstairs.
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    -Shall l tell him?
    -No, thank you. l'll go up.
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    Papa!
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    Hello, my darling!
    - Hello, Papa.
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    -Careful. l'm covered with paint.
    -And with money.
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    l heard all about the auction on the radio.
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    We've got to have a long, serious talk.
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    My dear angel, it was a triumph.
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    l could have sold
    a dozen Cézannes on the spot.
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    When is enough more than enough?
    This has got to stop.
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    One moment.
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    How kind of van Gogh
    to use only his first name.
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    l can sign him in half the time.
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    There. Perfect!
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    Not again, Papa? So soon?
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    This long-lost masterpiece
    will not be for sale for a long time.
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    We'll hang it. lt'll be admired. Who knows?
    ln time, some legendary tycoon...
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    may be able to persuade me
    to part with it.
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    -You're such a scoundrel.
    -Thank you, my child.
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    Nicole! My dirt.
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    This is not ordinary dirt.
    lt is van Gogh dirt.
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    l mean dirt from his own neighborhood.
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    l scraped it myself
    off these old 19th-century canvases.
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    Like this.
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    lt took me weeks.
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    A nice touch of authenticity,
    don't you think?
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    l doubt if van Gogh himself would've gone
    to such pains with his works.
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    He didn't have to. He was van Gogh.
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    But you know that in his whole lifetime,
    he only sold one painting.
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    Whereas l, in loving memory
    of his great tragic genius...
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    have already sold two.
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    Papa, l keep telling you...
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    when you sell a fake masterpiece,
    that is a crime.
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    l don't sell to the poor.
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    l only sell them to millionaires
    and they get great paintings like this one.
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    Papa! Police!
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    Police!?
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    What a shock you gave me.
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    lt's the director
    of the Kl饕er-Lafayette Museum.
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    Come about our Cellini Venus.
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    What about the Venus?
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    Our Cellini Venus
    is to be the outstanding feature...
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    of a great loan exhibition,
    Masterpieces of French Collections.
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    Not in public, Papa!
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    -Yes. Come along.
    -No!
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    Wait a minute.
    You can't let it out of the house.
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    Don't fuss.
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    But, Papa, this is insane.
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    l'm coming, Monsieur Grammont.
    -Take your time.
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    -l beg you. Listen to me.
    -Do you see any paint anywhere?
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    Do l smell of paint?
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    l beg of you, will you listen to me?
    The Cellini Venus is a fake.
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    -That's a word we don't use in this house.
    -lt's too dangerous. l can't let you do this.
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    Papa, will you listen to me?
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    Stop spraying and.... All right.
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    Come along, you'll like
    Monsieur Grammont.
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    He's impeccably honest
    and extremely dull.
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    My dear Grammont.
    How kind of you to come in person.
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    -Good evening, Bonnet.
    -My pleasure, l can assure you.
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    Marcel, the doors.
    Allow me to present my daughter, Nicole.
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    -Delighted, mademoiselle.
    -Good evening.
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    There she is.
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    Allow me.
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    l remember it as a work of art,
    but it is more.
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    My friend, l express my own
    and the museum's gratitude...
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    for your generous loan,
    and l thank you on behalf of France itself...
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    for never letting this treasure
    leave the country.
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    l know of the offers you must have had
    and how tempting they must have been.
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    One is, after all, always a Frenchman.
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    -l'll get it for you.
    -No.
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    Look, Papa, let me help you.
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    lnto your hands...
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    -my dear Grammont...
    -Me?
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    ...l give this, our ultimate treasure.
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    Papa, what have you done?
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    The room doesn't look
    the same without her.
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    - Papa
    - What have l done?
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    l'm giving the world an opportunity
    of studying and viewing the Cellini Venus.
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    Which is not by Cellini.
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    Labels! lt's working with the Americans...
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    that's given you this obsession
    with labels and brand names.
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    l wish you'd give up that ridiculous job.
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    Don't you know you can't fake
    sculpture anymore? lt's not like painting.
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    l know about their so-called tests.
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    Papa, they are not so-called. They are!
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    One quick whiff of something
    called potassium argon...
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    and they can tell the age of the stone,
    where it was quarried, when it was cut...
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    and the name and address
    of the man who did it.
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    Why do you suppose l haven't sold it?
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    l was offered recently....
    lt gives me a twinge when l think of it.
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    l was offered $1,000,000.
    But l won't sell it.
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    l don't even charge rent.
    So, why should they test it?
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    Did you hear Grammont say
    100,000 souvenir postcards!
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    They'll be mailed all over the world.
    Our Venus!
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    Don't you feel
    a kind of thrilling glow in that?
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    Chills run up and down my spine.
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    The basic trouble with you
    is that you're honest.
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    l don't say that to hurt your feelings.
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    l get dizzy spells
    when we have these conversations, Papa.
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    What you need is a brandy.
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    My darling, what you must understand
    is that l am pleased and proud...
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    that our Cellini Venus is a forgery.
    lf it were genuine, what would it be?
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    A piece of sculpture made
    centuries ago by some over-sexed ltalian.
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    But our Cellini Venus is really our own.
    So, be proud of it.
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    Your own grandfather made it,
    and your own grandmother posed for it.
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    For months she stood
    without moving a muscle...
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    while your grandfather
    perpetuated her in marble.
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    That was, naturally, before she
    started eating those enormous lunches.
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    -Back to the hotel, please.
    -Yes, Mr. Leland.
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    Miss Treadwell, type this up immediately.
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    Do it yourself
    and send it to all parties concerned.
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    Cancel all travel arrangements
    and business meetings Near and Far East.
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    Remaining in Paris on urgent business
    regarding my art foundation.
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    Further instructions
    will be issued as needed.
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    Paris office:
    Do a run-down on Charles Bonnet...
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    this city, all members of his family,
    his art collection...
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    and particularly the Cellini Venus,
    which is now on exhibition.
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    Have all this information
    at my hotel in the morning.
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    This is urgent, repeat, urgent.
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    And confidential.
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    Don't move.
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    Put down that painting.
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    Put it down!
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    -Miss Bonnet, please....
    -Stay where you are!
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    Why did you choose
    that particular painting?
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    It was the handiest.
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    Look, don't call the police.
    Give me another chance.
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    You see, I was only taking one painting
    and you've got so many.
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    The chances were
    you wouldn't have missed it.
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    I'll put it back.
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    It's beautiful. A pity.
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    You knew my father
    and the servants were out. How?
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    It's my business to know things like that.
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    Look, if I frightened you,
    I'm really terribly sorry.
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    I thought you'd be at the opening
    with your father.
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    Big event like that..
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    Anyway, you frightened me,
    so we're even.
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    Don't be impudent.
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    That thing isn't loaded, is it?
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    Of course it is.
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    - Are you armed?
    - Wait.
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    Do you have a gun?
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    Good God, no!
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    Well...I'm going to let you go.
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    I don't know why, but...
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    I'm the one that's bleeding.
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    - What's that?
    - Iodine.
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    Will it hurt?
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    For a burglar, you're not very brave,
    are you?
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    I'm a society burglar. I don't expect people
    to rush about shooting me.
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    Take your hand away
    so I can put this stuff on.
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    Ouch!
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    That hurt.
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    Don't be such a baby.
    It's only a flesh wound.
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    It happens to be my flesh.
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    You have to expect
    some occupational hazards.
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    You broke in here to steal!
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    Could we keep personalities
    out of this conversation?
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    Fine. A thing like this
    could keep me out of action for a week.
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    Temporarily, you'll have to go straight.
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    Look, it's late and I'm tired,
    and I have to work in the morning.
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    You work?
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    Some people do, you know.
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    All right. I'm going.
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    How do I get home?
    I can't drive.
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    I feel weak from shock and loss of blood.
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    Dear heaven!
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    I'll call you a taxi. And pay for it.
    Is that all right?
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    As far as I'm concerned, fine, but...
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    if the police found my car
    outside your house...
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    it would mean questions,
    and I'm wanted, you know.
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    I'm really thinking of you.
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    Thank you very much.
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    - I'll drive you home. Is that okay?
    - Fine, thank you.
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    You don't happen
    to have a cigarette, do you?
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    Here.
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    Pretty, isn't she?
    She'll do more than 150 miles an hour.
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    Useful for getaways, you see.
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    The robbery business
    must be pretty good.
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    It's stolen.
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    I can't drive a stolen car!
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    Same principle.
    Four gears forward, one reverse.
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    This is crazy. You should be in jail,
    and I should be in bed.
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    All right. Where to?
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    The Ritz.
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    The what?
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    The Hotel Ritz in the Place Vendome.
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    I know where it is.
    You're a very chic burglar, aren't you?
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    Your arm is much better.
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    No. It hurts.
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    It's the other arm.
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    The infection is spreading.
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    We got here alive. Thank you.
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    - If ever I can return the favor...
    - Hardly likely to happen, is it?
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    Now how do I get home?
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    You see, you never can tell
    when you might need a friend.
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    Good evening, Mr. Dermott.
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    Armand, I want a taxi.
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    Yes, Mr. Dermott. Right away.
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    Transportation laid on.
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    Taxi.
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    Gave myself away there.
    Now you know my name. Can't be helped.
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    Besides, I have a funny feeling,
    believe me, it's rare in my profession
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    that you're completely trustworthy.
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    Just one more tiny favor:
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    Like an idiot, I forgot to wear gloves.
    I may have left fingerprints.
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    Be an angel. Before you go to bed
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    give the frame of the painting
    a little wipe with a clean cloth, okay?
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    Certainly. Anything else?
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    You wouldn't like a forged passport
    or some counterfeit money or
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    You're mad, utterly mad.
    I suppose you want to kiss me good night.
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    I don't usually,
    not on the first acquaintance
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    but you've been such a good sport.
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    38, rue Parmentier.
    Drive carefully.
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    Get a good night's sleep.
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    Nicole, my darling,
    what a pity you missed the opening.
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    Our Cellini Venus
    was a tremendous success.
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    You should have seen the crowds.
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    - Thousands of them.
    -I want to...
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    - Photographers from all nationalities
    - Papa.
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    with our Cellini Venus
    the center of the whole attraction.
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    Papa, I caught a burglar.
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    Of course you did.
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    But you must promise me
    to go there and see for yourself.
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    A burglar?
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    What? Here in this house?
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    Good Lord.
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    Here, take a sip of this
    and just tell me all about it.
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    It was pitch dark and there he was.
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    Tall, blue eyes, slim, quite good-looking
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    in a brutal, mean way.
    Papa, a terrible man.
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    Arrogant, ruthless,
    no sense of guilt or shame...
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    or anything.
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    So you discussed all that, did you?
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    That was later,
    when I was driving him home.
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    I had to, Papa, I shot him in the arm
    with your old pistol.
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    but it was an accident, I think.
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    My darling.
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    supposing you start all over again
    and tell me what happened in detail.
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    I caught him in the act of stealing.
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    I kept him back with the pistol.
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    and I was telephoning the police
    when I saw what he was stealing.
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    - The van Gogh, your van Gogh.
    - What?
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    And I didn't know what to do.
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    I was afraid if he was arrested
    it might mean publicity.
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    Of course. A police investigation,
    that might have been very awkward.
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    - That's what I thought. So I let him go.
    - Good!
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    - I did the right thing, didn't I?
    - Of course. Maybe he was a first offender.
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    If you'd have seen how he was carrying on
    when I was dressing his wound.
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    He might have got an infection.
    The whole thing was too awful, Papa.
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    Good night, Papa.
  • 25:06 - 25:07
    Good night, my darling.
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    Good night, Papa.
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    Good night, my darling.
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    Have a good sleep.
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    Nicole.
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    This tall, good-looking ruffian
    with blue eyes
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    he didn't molest you in any way, did he?
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    Did he?
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    Not much.
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    Sorry. Oh.
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    Good morning.
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    We meet only under
    the most artistic circumstances.
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    Beautiful!
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    You wouldn't dare.
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    Fear nothing, I'm off duty.
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    Miss Bonnet. A pleasure to have you here.
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    Mr. Grammont.
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    Mr. Grammont,
    the Director of the Museum, and...
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    - Delighted.
    - How do you do.
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    We are old friends.
    We used to shoot together.
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    Wonderful exhibition.
    So many beautiful things.
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    -And so valuable!
    -Yes.
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    And observe, please,
    the security precautions
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    protecting your great sculpture.
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    -Are you interested in art, Mr. Dermott?
    -Indeed I am.
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    -And in security.
    -Splendid. Let me show you, please.
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    Excuse me.
    You see those tiny blue beams.
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    They are infrared circuits.
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    -I have to go.
    -Go on. I find it fascinating.
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    Be careful.
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    Because those beams create
    a circuit around the Venus
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    and anything that breaks the circuit,
    instant alarm!
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    Bravo! Thank you
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    It's the Electric Eye Detection
    and Alarm System.
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    We call it the E.D.A.S.
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    -Very clever.
    -Nice.
  • 27:50 - 27:52
    I know the question you're going to ask:
  • 27:52 - 27:55
    "What if a burglar got to it
    and turned off the alarm?"
  • 27:55 - 27:56
    No. The thought never entered my mind.
  • 27:56 - 27:59
    Funny, I was going to ask that very thing.
  • 27:59 - 28:01
    Good question. The answer is, he cannot.
  • 28:01 - 28:05
    You see, it operates like the door
    to a vault, and only two trusted guards
  • 28:05 - 28:07
    and myself of course,
    know the combination.
  • 28:07 - 28:09
    -Let me show you・
    -I have an appointment. Goodbye.
  • 28:09 - 28:12
    -You're coming with me. Aren't you?
    -All right. If you insist. Bye-bye.
  • 28:15 - 28:18
    Now go away or I'll call a policeman.
  • 28:18 - 28:20
    Yours is a capricious nature.
  • 28:20 - 28:23
    Do you always blow hot
    and cold like this? Say!
  • 28:23 - 28:26
    Listen. I have something
    very important to say to you.
  • 28:26 - 28:27
    Now don't go away.
  • 28:38 - 28:39
    Well, finally!
  • 28:39 - 28:42
    I waited at the Ritz for you last night.
    I thought you'd been caught.
  • 28:42 - 28:43
    -No.
    -What happened?
  • 28:43 - 28:46
    I'm only a part-time burglar,
    and it's hard work.
  • 28:46 - 28:47
    Did you find the van Gogh?
  • 28:47 - 28:49
    -Easily.
    -And?
  • 28:52 - 28:54
    It disturbs you, doesn't it?
  • 28:54 - 28:55
    Not a bit.
  • 28:56 - 28:58
    It's a great van Gogh.
  • 28:58 - 29:00
    Of course it is, but who painted it?
  • 29:00 - 29:04
    My dear Bernard, Bonnet has
    a Cellini sculpture on exhibition
  • 29:04 - 29:07
    right now which is worth $1,000,000.
    He doesn't need to forge paintings.
  • 29:08 - 29:10
    -Do you think that's a forgery, too?
    -No, not that!
  • 29:10 - 29:14
    For one thing, it was first exhibited in 1910
    when Bonnet was eight years old.
  • 29:14 - 29:18
    Besides, Bonnet never studied sculpture.
    But he did study painting.
  • 29:18 - 29:20
    If he has $1,000,000 lying around loose
  • 29:20 - 29:23
    why does he forge paintings?
    What's his motive?
  • 29:23 - 29:25
    Ego, vanity,
    hoodwinking the whole world
  • 29:25 - 29:27
    and having a wonderful time doing it.
  • 29:27 - 29:29
    Simon, imagine Bonnet
    as a young painter.
  • 29:29 - 29:32
    Like many others he copies
    the masters to learn their secrets.
  • 29:32 - 29:34
    It is his hobby.
  • 29:34 - 29:35
    But over the years,
    it becomes an obsession.
  • 29:35 - 29:39
    He learned every nuance of light,
    of color, of shade, of form.
  • 29:39 - 29:41
    He identifies with them completely.
  • 29:41 - 29:44
    When he paints a van Gogh,
    he is van Gogh.
  • 29:44 - 29:48
    He's Lautrec, Cezanne, he's any painter
    he chooses to be, and that is his motive
  • 29:48 - 29:49
    and also his profit.
  • 29:50 - 29:53
    -What about Bonnet's daughter?
    -Nicole? What about her?
  • 29:53 - 29:56
    -Do you think she's in it with him?
    -In what?
  • 29:56 - 29:57
    According to you, there is nothing.
  • 29:57 - 30:00
    -That's right.
    -You're wrong. And you'll see.
  • 30:02 - 30:02
    Come in.
  • 30:04 - 30:06
    -Hello, Papa.
    -Good evening, my dear.
  • 30:06 - 30:08
    Marcel tells me you're dining out.
  • 30:08 - 30:10
    With an American tycoon
    I met today.
  • 30:10 - 30:13
    -He makes computers.
    -What?
  • 30:13 - 30:16
    Well, that might be the basis
    of an enduring friendship.
  • 30:17 - 30:20
    And there he is.
    Right on the executive button.
  • 30:20 - 30:22
    An enormous Cadillac.
    Does that sound right?
  • 30:23 - 30:25
    -What's his name?
    -Davis Leland.
  • 30:25 - 30:28
    -Davis Leland? Are you sure?
    -Do you know him?
  • 30:28 - 30:30
    No, but I'd very much like to meet him.
  • 30:30 - 30:33
    Yes, he is one of the most open-handed
    art collectors in the whole of America.
  • 30:33 - 30:35
    I'll go and keep him company.
  • 30:35 - 30:37
    He didn't say a word about a collection.
  • 30:37 - 30:39
    Didn't he tell you that
    he's got the great Toulouse-Lautrec・
  • 30:39 - 30:41
    from the Bonnet collection?
  • 30:42 - 30:45
    Your Lautrec or Lautrec's Lautrec?
  • 30:45 - 30:46
    Mine, naturally.
  • 30:46 - 30:47
    Oh, no.
  • 30:48 - 30:51
    Are you implying that my Lautrec
    is in any way inferior?
  • 30:51 - 30:52
    Listen, Papa.
  • 30:52 - 30:55
    He mentioned your name
    as though it were only vaguely familiar.
  • 30:55 - 30:57
    Not only didn't he mention anything
    about a collection
  • 30:57 - 30:59
    he said he didn't like art at all.
  • 31:00 - 31:01
    He suspects something.
  • 31:02 - 31:04
    He must have arranged to meet me.
  • 31:05 - 31:06
    I find that rather intriguing.
  • 31:07 - 31:08
    I'll go and meet him.
  • 31:22 - 31:26
    A lovely dinner. Marvelous wine.
    How did you know how to choose it?
  • 31:26 - 31:27
    I own a vineyard.
  • 31:28 - 31:29
    Well, what fun!
  • 31:29 - 31:33
    -It's a subsidiary of Eastern Coal and Coke.
    -Eastern Coal and Coke?
  • 31:33 - 31:35
    That's a subsidiary
    of Western Wool and Flax.
  • 31:35 - 31:38
    Fascinating. What's your growth factor?
  • 31:39 - 31:42
    Say! You're marvelous. You're wonderful.
  • 31:42 - 31:44
    You know, usually I have trouble
    talking with girls
  • 31:44 - 31:48
    but with you, it's as though
    you were a member of the Board.
  • 31:48 - 31:51
    That's very nice of you, Mr. Leland.
  • 31:51 - 31:54
    But I wish I didn't have this feeling that
    there's a subject you're trying to avoid.
  • 31:57 - 31:59
    There is something, isn't there?
  • 31:59 - 32:01
    Yes. I hate to say this.
  • 32:03 - 32:04
    Yes?
  • 32:04 - 32:06
    But you see, it has to do with your father.
  • 32:07 - 32:09
    and the Bonnet collection.
  • 32:09 - 32:12
    Yes. You see,
    Damn it, this is hard for me to say.
  • 32:13 - 32:14
    -Mr. Davis Leland?
    -Yes.
  • 32:14 - 32:16
    Long-distance call, Mr. Leland.
    United States. California.
  • 32:17 - 32:19
    How the devil did they track me
    down here?
  • 32:19 - 32:21
    Please excuse me. I'll cut it short.
  • 32:40 - 32:43
    -Oh, no!
    -Not a very cordial greeting.
  • 32:43 - 32:46
    I went to considerable trouble to arrange
    these few precious moments alone.
  • 32:46 - 32:48
    -Leave the table.
    -It's National Crime Prevention Week.
  • 32:48 - 32:52
    -Take a Burglar to Dinner.
    -My escort has a very ugly temper.
  • 32:52 - 32:54
    Now go and call off
    that fake telephone call.
  • 32:54 - 32:56
    There's something I must tell you.
  • 32:56 - 32:58
    -How I'd like to take another shot at you!
    -It's important!
  • 32:58 - 33:00
    Quittez pas! What is that?
  • 33:01 - 33:03
    I'm going to quittez pas right now.
  • 33:03 - 33:06
    Either you leave this table
    or I start screaming.
  • 33:06 - 33:07
    -Yes, I'll go.
    -Choose!
  • 33:07 - 33:09
    Just tell me where and when we can meet.
  • 33:09 - 33:10
    Choose! And make it fast!
  • 33:12 - 33:17
    Remember, Simon Dermott.
    Room 136, the Ritz. It's urgent.
  • 33:22 - 33:23
    The Ritz!
  • 33:27 - 33:29
    Now, where were we?
  • 33:29 - 33:31
    With my father and his collection.
  • 33:31 - 33:32
    Oh, yes.
  • 33:33 - 33:35
    I hate to have
    to tell you this, Miss Bonnet.
  • 33:37 - 33:39
    -I arranged our meeting.
    -Why?
  • 33:39 - 33:42
    It's this ridiculous obsession.
    It devours me.
  • 33:42 - 33:45
    From the minute I first laid eyes on it,
    I was lost, helpless
  • 33:45 - 33:48
    completely caught up
    in this awful compulsion.
  • 33:49 - 33:51
    Laid eyes on what?
  • 33:51 - 33:54
    The Cellini Venus, of course.
    I saw it last night. It haunted me.
  • 33:54 - 33:57
    I can't think of anything else.
    I haven't slept a wink all night.
  • 33:57 - 33:59
    This morning, when I learned
    your father wouldn't sell it
  • 33:59 - 34:01
    I started pulling strings to meet you
  • 34:01 - 34:03
    hoping somehow to use you
    to get the Venus.
  • 34:04 - 34:06
    Well, that's it.
  • 34:06 - 34:09
    -You poor, dear man!
    -No!
  • 34:09 - 34:10
    Don't spare my feelings.
  • 34:10 - 34:13
    I'm sorry you fell in love with the Venus.
    She's not for sale.
  • 34:13 - 34:15
    Believe me, if she were mine,
    she'd be on your doorstep in the morning.
  • 34:15 - 34:18
    That's your consolation prize.
  • 34:19 - 34:21
    -Well, you kissed me!
    -Yes.
  • 34:21 - 34:23
    And that's for emphasis.
  • 34:27 - 34:30
    -Shall we dance?
    -Oh, yes!
  • 34:34 - 34:35
    Good morning, my dear.
  • 34:35 - 34:38
    I'll call Marcel.
    No, thank you. I'm late.
  • 34:39 - 34:41
    I just have to tell you about Davis Leland.
  • 34:41 - 34:43
    Everything's fine.
  • 34:43 - 34:46
    As far as Davis Leland is concerned,
    you can go on faking masterpieces
  • 34:46 - 34:48
    as long as you can hold a brush.
  • 34:48 - 34:51
    He cooked up a big plot to meet me
    just to get to you through me
  • 34:51 - 34:53
    hoping that way he'd get the Cellini.
  • 34:53 - 34:56
    Really? American millionaires
    must be all quite mad.
  • 34:56 - 34:58
    Perhaps it's something they put
    in the ink when they print the money.
  • 35:00 - 35:01
    A gentleman to see you, sir.
  • 35:01 - 35:04
    On behalf of the director
    of the Kleber-Lafayette Museum, sir.
  • 35:04 - 35:07
    So early? Show him in, Marcel.
  • 35:07 - 35:09
    Must be a very enterprising young fellow.
  • 35:15 - 35:18
    Good morning, sir.
    I'm sorry to disturb you.
  • 35:18 - 35:22
    Just a technicality on the insurance
    of your loan of one statue:
  • 35:22 - 35:26
    "Twenty-nine inches,
    in marble, entitled Venus, by
  • 35:26 - 35:29
    "Benvenuto Cellini."
  • 35:29 - 35:31
    Insurance, on that?
  • 35:31 - 35:35
    -It's never been insured. It's beyond price!
    -Yes. We were aware of that, sir.
  • 35:35 - 35:38
    So special cover was taken over
    for its transportation and exhibition.
  • 35:39 - 35:41
    But by an unfortunate error, sir
  • 35:41 - 35:43
    your signature was not obtained
    on the document.
  • 35:43 - 35:47
    There is, of course,
    no expense to yourself, sir.
  • 35:47 - 35:51
    A mere formality,
    for once you've signed this document
  • 35:51 - 35:56
    the work of art is covered until
    it's returned to this house in good order.
  • 35:57 - 36:00
    I just have to sign? And then it's...
  • 36:01 - 36:03
    Insured for $1,000,000 against all risks
  • 36:03 - 36:06
    including flood, earthquake, thunderbolt,
    falling aircraft, loot, sack, pillage,
  • 36:06 - 36:10
    military or civil commotion,
    fire, structural collapse of buildings
  • 36:10 - 36:11
    and, of course, larceny or theft.
  • 36:16 - 36:18
    Thank you, sir.
  • 36:20 - 36:23
    By the way, sir,
    would you like to be present
  • 36:23 - 36:25
    at the technical examination?
  • 36:27 - 36:29
    Technical examination?
  • 36:29 - 36:33
    Yes, they always require it and you,
    of course, have just authorized it.
  • 36:33 - 36:34
    A mere formality.
  • 36:35 - 36:39
    I believe they have a Prof. Bauer
    flying in from Zurich on Friday.
  • 36:39 - 36:42
    Well, thank you, sir. And good day.
  • 36:43 - 36:44
    Wait.
  • 37:01 - 37:03
    Papa, this Prof. Bauer.
  • 37:04 - 37:06
    Does he know all the tests?
  • 37:06 - 37:07
    He invented them.
  • 37:08 - 37:12
    -It's not as if we're trying to sell it.
    -My dear, at the first breath of suspicion
  • 37:12 - 37:16
    the entire myth
    of the Bonnet collection explodes. Bomb!
  • 37:16 - 37:19
    Everything I've done will be examined
    and re-examined with X-rays
  • 37:19 - 37:21
    fluoroscopes, microscopes,
    shadowgraphs
  • 37:21 - 37:24
    smelly chemicals and all sorts of...
  • 37:25 - 37:28
    We live in a crass, commercial world,
    with no faith or trust.
  • 37:41 - 37:44
    We must keep Prof. Bauer
    from examining the Venus.
  • 37:44 - 37:46
    But how? I've just given my permission.
  • 37:46 - 37:47
    I've not only put my head
    into the guillotine
  • 37:47 - 37:50
    I've unloosened my collar and tie
    so that they can chop it off.
  • 37:52 - 37:54
    At least I can keep you out of this.
    Leave Paris.
  • 37:54 - 37:57
    I want you to go to America.
    No, go to the Orient or somewhere.
  • 37:57 - 37:59
    Please, it will be easier for me,
    I promise you.
  • 37:59 - 38:01
    I'm not going to leave you
    and that's final.
  • 38:01 - 38:03
    -Sir?
    -Yes?
  • 38:03 - 38:05
    -A senor Paravideo to see you, sir.
    -Who?
  • 38:05 - 38:07
    A South American gentleman,
    I believe, sir.
  • 38:07 - 38:09
    Of an excitable nature.
  • 38:09 - 38:11
    -Who's he?
    -I don't know.
  • 38:11 - 38:13
    Oh, my God!
  • 38:13 - 38:15
    Mademoiselle, monsieur. I must apo...
  • 38:16 - 38:17
    Here it is!
  • 38:20 - 38:21
    Just as you said
  • 38:22 - 38:23
    only greater by far!
  • 38:23 - 38:28
    I must apologize. I had an urgent call.
    A revolution in my country.
  • 38:28 - 38:31
    Also, some of my mines are flooded.
    I must go back soon.
  • 38:31 - 38:35
    I couldn't bear to leave Paris
    without consulting you about this.
  • 38:37 - 38:41
    -Senor, it is not for sale.
    -But you said you might.
  • 38:41 - 38:43
    It is not for sale!
  • 38:43 - 38:45
    -Goodbye.
    -I can see the hand of a master!
  • 38:46 - 38:48
    Goodbye. Adios.
  • 38:51 - 38:53
    Preposterous little man!
  • 38:53 - 38:55
    I met him at the auction
    when my Cezanne
  • 38:55 - 38:57
    fetched such a stunning price.
  • 38:58 - 39:01
    Why not? It was worth a stunning price.
    Even more!
  • 39:01 - 39:04
    This will not be a scandal, but a triumph!
    Let the experts come pouring in!
  • 39:04 - 39:06
    Let them bring their X-rays,
    their microscopes
  • 39:06 - 39:09
    even their nuclear weapons if they like.
  • 39:12 - 39:14
    Remember what happened
    with van Meegeren
  • 39:14 - 39:17
    and all those forged Vermeers?
    He drove the experts crazy.
  • 39:17 - 39:20
    He won every round, fought them,
    and then emerged the victor.
  • 39:20 - 39:23
    He finally painted one last Vermeer
    and even that was a triumph.
  • 39:23 - 39:25
    The guards marveled at the brilliance
    of his brushwork.
  • 39:25 - 39:28
    Even his fellow inmates
    couldn't believe their eyes.
  • 39:28 - 39:31
    And the governor of the prison, he...
  • 39:47 - 39:49
    What's the number of the Hotel Ritz?
  • 39:50 - 39:51
    Opera 2830.
  • 41:12 - 41:15
    I didn't recognize you.
    You look, somehow, different.
  • 41:18 - 41:21
    -Scotch.
    -Likewise.
  • 41:22 - 41:26
    I was surprised to hear
    from you. Surprised and pleased, Miss B...
  • 41:26 - 41:28
    Please, no names.
  • 41:29 - 41:33
    If it's all that private,
    I've got a bottle in my room upstairs.
  • 41:34 - 41:35
    This is a business meeting.
  • 41:36 - 41:41
    I find I have need of someone
    with your talents and experience, Mr....
  • 41:41 - 41:42
    Please, no names!
  • 41:44 - 41:46
    You interested in a big-time caper?
  • 41:46 - 41:48
    -A what?
    -A heist.
  • 41:48 - 41:51
    A heist. You mean a burglary.
  • 41:59 - 42:01
    What's the score, baby?
  • 42:03 - 42:05
    Won't be easy.
  • 42:05 - 42:07
    That's okay. What's the job? I'm in.
  • 42:07 - 42:10
    -The Kleber-Lafayette Museum.
    -I'm out!
  • 42:11 - 42:14
    Why that particular spot?
  • 42:15 - 42:17
    The Cellini Venus.
  • 42:17 - 42:20
    Your...Your Cellini Venus?
  • 42:20 - 42:22
    Well, it's not mine exactly.
    It's sort of in the family.
  • 42:22 - 42:24
    Anyway, that should be
    no concern of yours.
  • 42:25 - 42:27
    You want to steal it?
  • 42:28 - 42:29
    Why?
  • 42:31 - 42:32
    Is it a publicity stunt?
  • 42:32 - 42:36
    Lord, no! It's very valuable.
    It's worth $1,000,000!
  • 42:36 - 42:38
    I know. There are also
    1,000,000 policemen prowling around it.
  • 42:38 - 42:41
    That's about a dollar a policeman.
    I don't like the rate of exchange.
  • 42:42 - 42:45
    -You mean you won't do it?
    -No.
  • 42:45 - 42:47
    -Are you sure?
    -Quite sure.
  • 42:47 - 42:48
    I'm sorry.
  • 42:48 - 42:50
    Thank you for thinking of me.
  • 42:51 - 42:53
    Look, finish your drink.
  • 42:53 - 42:54
    I have to go.
  • 42:54 - 42:56
    Are you really serious?
  • 42:56 - 42:59
    You've seen the way
    your statue is protected.
  • 42:59 - 43:00
    The Electric Eye, the guards
  • 43:00 - 43:03
    Well, I was hoping to leave
    those details to you.
  • 43:05 - 43:07
    I'll sleep on it and...
  • 43:08 - 43:09
    It's too late, the museum's closed.
  • 43:09 - 43:11
    We'll look over the premises
    in the morning.
  • 43:11 - 43:13
    What we call in the trade
    "casing the joint."
  • 43:16 - 43:17
    Thank you very much.
  • 43:17 - 43:20
    Look, it's early.
    Why don't I show you the real Paris.
  • 43:20 - 43:22
    I...That's very kind of you.
  • 43:22 - 43:25
    I live here. I was born in Paris.
  • 43:25 - 43:27
    I forgot. Why don't you
    show me the real Paris?
  • 43:27 - 43:30
    -I only have two inches left of this bench.
    -I'm terribly sorry.
  • 43:31 - 43:33
    Where and what time tomorrow?
  • 43:33 - 43:37
    I find that the most successful jobs
    of this kind are planned
  • 43:37 - 43:41
    when everyone is relaxed. So let's meet
    and have a nice, long, cozy lunch.
  • 43:43 - 43:45
    Corner of avenue Gabriel,
    avenue Marigny, 10:00 a.m.
  • 43:45 - 43:47
    -Right?
    -Right.
  • 44:10 - 44:12
    Is it those police that worry you so?
  • 44:12 - 44:13
    Yes. And these.
  • 44:14 - 44:17
    But that's the Ministry of the Interior.
    It's always guarded.
  • 44:18 - 44:20
    What about them?
  • 44:21 - 44:24
    They have nothing to do with us.
    They're guarding government buildings.
  • 44:26 - 44:28
    That's where the President lives.
  • 44:28 - 44:29
    I know.
  • 44:32 - 44:34
    The museum
    you want to stick up is right here.
  • 44:34 - 44:36
    Very handy!
  • 44:36 - 44:38
    I can practically taste
    the bread and water!
  • 45:22 - 45:24
    -It can't be!
    -What?
  • 45:24 - 45:27
    Well, for a moment,
    I thought I saw a resemblance.
  • 45:28 - 45:30
    Resemblance to what?
  • 45:30 - 45:31
    You and...
  • 45:32 - 45:34
    That's silly!
    She's at least 400 years old.
  • 45:34 - 45:36
    I know, but...
  • 45:39 - 45:40
    Sorry.
  • 45:42 - 45:45
    Where exactly were you
    in the early part of the 16th century?
  • 45:45 - 45:47
    I don't know,
    but that's not how I was dressed.
  • 47:40 - 47:41
    Who's in charge here?
  • 47:41 - 47:43
    Sir! At your service!
  • 47:43 - 47:47
    Dubois, Assistant Deputy Chairman,
    Commissioner of Tourism.
  • 47:47 - 47:49
    Isn't this place cleaned regularly?
  • 47:49 - 47:52
    Look at this sleeve,
    just from brushing against the woodwork.
  • 47:52 - 47:54
    I'm sorry, but we have
    a complete staff of cleaning women.
  • 47:54 - 47:56
    Once a month, I suppose.
  • 47:56 - 47:58
    No, sir, every night,
    from midnight until 4:00 a.m.
  • 48:00 - 48:03
    See they do their jobs properly,
    or I'll make a report.
  • 48:03 - 48:04
    Yes, sir.
  • 48:04 - 48:06
    -Carry on.
    -Thank you, sir.
  • 48:07 - 48:08
    Sir!
  • 48:09 - 48:11
    -This way.
    -Really?
  • 48:41 - 48:45
    Don't you think it's being a bit pushy,
    starting with a million-dollar robbery?
  • 48:45 - 48:47
    I mean, we've got to walk
    before we can run, you know.
  • 48:47 - 48:49
    I know a little gallery
    we could knock over
  • 48:49 - 48:51
    just to get our feet wet
    so to speak and then
  • 48:51 - 48:54
    gathering confidence as we go,
    we could move into the big time.
  • 48:56 - 48:58
    -No good?
    -No good at all.
  • 49:00 - 49:02
    Next question.
  • 49:03 - 49:05
    Why must it be this particular work of art?
  • 49:06 - 49:09
    Well, you don't think I'd steal something
    that didn't belong to me, do you?
  • 49:11 - 49:12
    Excuse me, I spoke without thinking.
  • 49:13 - 49:17
    Why not wait until you get it back home
    and steal it then?
  • 49:17 - 49:20
    No muss, no fuss, a nice, clean inside job.
  • 49:20 - 49:23
    -I'll be delighted to offer my services.
    -This is not a prank or a whim.
  • 49:23 - 49:25
    It's something I must do because...
  • 49:26 - 49:28
    -because I must do it.
    -I see.
  • 49:37 - 49:40
    We must look at the facts impartially.
  • 49:40 - 49:42
    We can't get past the alarm. That's out.
  • 49:42 - 49:44
    We can't tamper with it. That's out.
  • 49:44 - 49:46
    -We can't turn it off.
    -That's out.
  • 49:46 - 49:48
    You're some burglar, you are.
  • 49:59 - 50:01
    This is how you normally work,
    by the mile?
  • 50:02 - 50:05
    I'm thinking.
    Look at my forehead, all wrinkled.
  • 50:05 - 50:08
    What we need
    is at precisely the right moment
  • 50:08 - 50:10
    some trusted member
    of the museum staff
  • 50:10 - 50:12
    has to obligingly switch off
    the alarm system.
  • 50:12 - 50:14
    -Couldn't we bribe someone?
    -Excellent idea!
  • 50:14 - 50:16
    -No.
    -Why not?
  • 50:16 - 50:19
    Because I don't know
    which guard knows how to do it.
  • 50:19 - 50:21
    Do you want to see it again?
    Here we go.
  • 50:21 - 50:25
    It always circles around and comes back.
    Just like that.
  • 50:26 - 50:28
    Not now, please!
  • 50:28 - 50:30
    There you are, sonny.
    It's all ready. Thank you very much.
  • 50:31 - 50:34
    -You, sir. How many do you want?
    -Excuse me, gentlemen. I was here first.
  • 50:34 - 50:37
    Excuse me, sir. Ever seen the boomerang?
    Two? Blue or red?
  • 50:37 - 50:40
    Don't forget what I told the children.
    Don't forget to throw it at the right angle.
  • 50:40 - 50:42
    That's the idea.
  • 50:48 - 50:50
    Great fun! Try it.
  • 50:51 - 50:54
    If you'll tell me
    what you're doing and why.
  • 50:54 - 50:57
    I'll buy you a cowboy suit
    and a set of trains.
  • 50:57 - 51:01
    I want you to take a long last look
    at the blue sky, the green grass
  • 51:01 - 51:03
    the trees and the river,
    all of which I loathe personally
  • 51:03 - 51:06
    which is why a juicy stretch
    in a cozy French prison
  • 51:06 - 51:07
    doesn't bother me at all.
  • 51:08 - 51:10
    You think you have a scheme
    that might work?
  • 51:14 - 51:17
    You really are the smuggest
    and most hateful man.
  • 51:17 - 51:20
    If you frequent criminal circles,
    you can't be choosey.
  • 51:22 - 51:25
    How do you like
    being a gangster's moll, baby?
  • 51:26 - 51:27
    Now where are we going?
  • 51:28 - 51:30
    My apartment.
  • 51:31 - 51:35
    I'd like to remind you, Mr. Dermott,
    ours is a business relationship.
  • 51:35 - 51:39
    I am aware of that. I'm also aware
    of the social gulf between us.
  • 51:39 - 51:42
    You are an aristocrat,
    and I am a humble burglar.
  • 51:56 - 51:58
    Right. There's the bathroom.
    Take off your clothes.
  • 51:59 - 52:01
    Are we planning the same sort of crime?
  • 52:01 - 52:03
    You are quite safe.
    It's dress-rehearsal time.
  • 52:03 - 52:05
    That's why we bought
    all this lovely junk. Come on.
  • 52:05 - 52:08
    If it's a necessary part of the plan
  • 52:09 - 52:10
    Are you sure?
  • 52:10 - 52:13
    Chatter, chatter, chatter.
    Do as you're told!
  • 53:01 - 53:03
    That's nice.
  • 53:03 - 53:06
    Yes, that's really nice.
  • 53:06 - 53:09
    It just needs one more little touch.
  • 53:12 - 53:15
    Now turn around for me,
    would you? Go on.
  • 53:16 - 53:18
    Yes, that's fine. That does it.
  • 53:18 - 53:19
    Does what?
  • 53:19 - 53:23
    For one thing,
    it gives Givenchy a night off. Now
  • 53:28 - 53:28
    Down!
  • 53:29 - 53:30
    Down!
  • 53:33 - 53:35
    Scrub the floor. Scrub.
  • 53:35 - 53:36
    Crime doesn't pay, does it.
  • 53:36 - 53:40
    Elbow grease! Scrub! And don't sulk.
  • 53:40 - 53:43
    At 11:57 p.m.,
    all hell will break loose in the museum.
  • 53:43 - 53:45
    And at midnight,
    the scrubwomen come trooping in.
  • 53:45 - 53:47
    And whatever happens,
    hang onto your bucket.
  • 53:48 - 53:50
    You do have a plan, don't you?
  • 53:50 - 53:53
    Of course I have.
    Now listen very carefully.
  • 53:53 - 53:56
    My plan is, on the night of the crime
  • 53:56 - 53:59
    my plan and I will be curled up
    in that bed with a good book.
  • 54:02 - 54:05
    -Why?
    -You asked me why? I ask you why.
  • 54:05 - 54:07
    Why are we breaking
    into a heavily guarded museum
  • 54:07 - 54:09
    to steal a precious statue
    which belongs to you? Why?
  • 54:09 - 54:13
    But I told you why I couldn't tell you why.
  • 54:14 - 54:15
    Not good enough.
  • 54:16 - 54:20
    You're perfectly right.
    In your place, I'd feel the same way.
  • 54:20 - 54:22
    I'm in this awful trouble.
  • 54:22 - 54:24
    But it's nothing to do with you.
  • 54:24 - 54:26
    I just can't explain so I'm stuck.
  • 54:26 - 54:28
    I'll get out of these clothes.
  • 54:28 - 54:31
    -Don't you dare cry!
    -I have something in my eye.
  • 54:31 - 54:34
    Nothing's wrong with it.
    You're crying to soften me up.
  • 54:34 - 54:37
    -It's not true.
    -It won't work! I'm too tough.
  • 54:37 - 54:39
    I know. I'm going.
  • 54:40 - 54:41
    Hurry up!
  • 54:42 - 54:45
    Go on. Hurry up Go.
  • 54:50 - 54:53
    And meet me at the museum
    at 5:30 p.m., sharp.
  • 54:57 - 55:00
    And don't ask me why,
    or I'll hit you with a bucket!
  • 55:00 - 55:03
    Yes, sir. Thank you, sir!
  • 55:12 - 55:15
    I won't be in for dinner, Marcel,
    and I may be out quite late, in fact.
  • 55:16 - 55:17
    If anybody calls, anyone at all
  • 55:17 - 55:19
    you don't know where I am,
    or how to reach me.
  • 55:19 - 55:21
    Yes, mademoiselle.
  • 55:27 - 55:29
    Good afternoon.
  • 55:29 - 55:31
    Just tell Miss Bonnet
    that I'm here, please?
  • 55:31 - 55:33
    I'm sorry, sir. Miss Bonnet has gone out.
  • 55:33 - 55:36
    Out? Are you sure?
    Her car is in the courtyard.
  • 55:36 - 55:38
    Quite sure, sir. She took a taxi.
  • 55:39 - 55:41
    Well, I'll wait.
  • 55:50 - 55:53
    Why, hello
  • 55:53 - 55:55
    What a nice surprise!
  • 55:55 - 55:58
    I did go out. I forgot something,
    so I came in again.
  • 55:58 - 55:59
    The servants' entrance.
  • 55:59 - 56:01
    I'm rushing out again.
    Thank you. I'll let Mr. Leland out.
  • 56:02 - 56:05
    No. I'm all rehearsed, made up,
    and ready to go on.
  • 56:05 - 56:06
    Luckily it's only a short speech.
  • 56:06 - 56:08
    I must fly. I have a business appointment.
    I can't be late
  • 56:08 - 56:11
    Business! That's all you French girls
    ever think about.
  • 56:11 - 56:14
    -Well, a minute, a second, really.
    -You're in a rush.
  • 56:14 - 56:17
    You want action?
    Fine! That's my mood, too.
  • 56:17 - 56:18
    Here. Catch.
  • 56:21 - 56:23
    -Oh, Davis!
    -Please, no speeches.
  • 56:23 - 56:24
    But why?
  • 56:24 - 56:27
    Why? That's the silliest question
    I ever heard of.
  • 56:27 - 56:29
    It's wild. We don't even know each other.
  • 56:29 - 56:32
    -Please come back tomorrow?
    -No. Made up my mind. Man of action!
  • 56:32 - 56:35
    Snap judgment.
    I bought a fleet of tankers that way.
  • 56:35 - 56:37
    -One of the best deals I ever made.
    -But I'm not a fleet of tankers.
  • 56:37 - 56:40
    I'm not getting engaged
    to a man I barely know.
  • 56:40 - 56:43
    You'll get to know me. Look me up
    in Who's Who, Dun & Bradstreet
  • 56:43 - 56:45
    There. That's it. It's a deal?
  • 56:45 - 56:47
    Yes. But, no! I'm a little dizzy.
  • 56:47 - 56:51
    And this thing is just blinding me!
    I really have to run.
  • 56:51 - 56:52
    -No. Relax.
    -I do.
  • 56:52 - 56:55
    I've never been engaged
    to such a fidgety girl in all my life.
  • 56:55 - 56:57
    The kiss.
  • 57:14 - 57:17
    -Where have you been?
    -I was getting engaged.
  • 57:18 - 57:19
    Come on.
  • 57:20 - 57:22
    This fellow came when I was leaving.
    He wants to marry me.
  • 57:22 - 57:24
    I didn't want to keep you waiting,
    so I got engaged to him.
  • 57:24 - 57:26
    -Is it all right? Am I on time?
    -Fine.
  • 57:26 - 57:28
    In fact, we have 10 more minutes.
  • 57:28 - 57:30
    -If you'd like to go back and marry him...
    -Come on
  • 57:38 - 57:40
    Would you check your parcel, please?
  • 58:07 - 58:08
    Thank you.
  • 58:26 - 58:28
    Just checking on the accommodations.
  • 58:46 - 58:48
    Don't start that. Not again.
  • 58:48 - 58:50
    I could swear that
  • 58:56 - 58:58
    Well, we have a few moments
    for cultural improvement.
  • 59:00 - 59:02
    How do we get past the alarm?
  • 59:02 - 59:03
    Like this gentlemen here
  • 59:03 - 59:06
    I'm depending on normal human reactions.
  • 59:07 - 59:08
    Blue period?
  • 59:11 - 59:13
    Regard the subtle harmony of color.
  • 59:13 - 59:16
    Now, the nice thing about
    complicated mechanical devices is
  • 59:16 - 59:18
    if they do suddenly go haywire
  • 59:20 - 59:22
    Yes. What's after haywire?
  • 59:22 - 59:25
    The people in charge
    have a tendency to panic
  • 59:25 - 59:29
    and to run around in confused circles,
    and at that moment we strike.
  • 59:29 - 59:31
    A superb Rembrandt.
  • 59:33 - 59:36
    Now, this is, to coin a phrase,
    the point of no return.
  • 59:36 - 59:39
    In precisely one minute,
    the closing bell will ring.
  • 59:39 - 59:43
    We can leave with the others
    and have a quiet dinner, or we stay.
  • 59:43 - 59:45
    Then we're committed
    to go through with it.
  • 59:46 - 59:47
    Do you really want it
  • 59:48 - 59:49
    that much?
  • 59:50 - 59:50
    More!
  • 59:57 - 59:59
    Okay. You're the boss.
    Just do as I tell you.
  • 60:14 - 60:16
    Stand by for the countdown.
  • 60:16 - 60:20
    Six, five, four
  • 60:20 - 60:23
    three, two, one
  • 60:25 - 60:26
    Now!
  • 61:03 - 61:06
    Watch for normal human reactions.
  • 62:13 - 62:14
    Comfy?
  • 62:15 - 62:19
    I hadn't counted on there being
    quite so much togetherness.
  • 62:19 - 62:22
    It's the height of the tourist season.
    Everything was booked.
  • 62:22 - 62:24
    This was the best I could do.
  • 63:19 - 63:21
    He locked the door. He's locked us in.
  • 63:21 - 63:24
    It's challenging, I admit,
    but doesn't that make it more interesting?
  • 63:26 - 63:29
    -I'm going to faint.
    -Don't. There's no room.
  • 64:00 - 64:02
    All right, boys.
  • 64:06 - 64:08
    Didn't you hear me?
  • 65:44 - 65:46
    8:01 on the nose.
  • 65:46 - 65:48
    Now we have a fix
    on when they make their rounds.
  • 65:48 - 65:50
    Exactly every hour.
  • 65:52 - 65:55
    We're still locked in. How
    about that, mastermind?
  • 66:55 - 66:56
    Hold that.
  • 67:55 - 67:56
    Brilliant!
  • 68:04 - 68:08
    - It doesn't open from the inside.
    - Blast!
  • 68:08 - 68:11
    However, by a strange
    coincidence...
  • 68:11 - 68:13
    I just happen to have....
  • 69:49 - 69:50
    Now.
  • 69:54 - 69:55
    Marvelous.
  • 69:56 - 69:57
    No applause, please.
  • 69:57 - 70:00
    Wait till you see what
    I do for an encore.
  • 70:56 - 70:58
    What are you doing?
  • 70:58 - 70:59
    Give it to me. Here.
  • 71:06 - 71:08
    Put those on. Get cracking.
  • 71:21 - 71:23
    Turn around.
  • 71:23 - 71:25
    What for?
  • 71:26 - 71:29
    They go on over the clothes.
  • 71:35 - 71:37
    There. Thank you.
  • 71:45 - 71:47
    Congratulations! You look terrible.
  • 71:47 - 71:49
    Can we steal that statue soon?
  • 71:49 - 71:52
    - I hate to complain but really...
    - Have patience. We will.
  • 71:52 - 71:55
    When? And how?
  • 71:55 - 71:58
    Now look, if you were a guard...
  • 71:58 - 72:01
    and had to sit night after night
    guarding junk you couldn't afford...
  • 72:01 - 72:03
    and didn't particularly
    like, how would you feel?
  • 72:03 - 72:04
    Irritable.
  • 72:10 - 72:12
    Oh, no!
  • 72:12 - 72:15
    - It's psychological warfare.
    - With that?
  • 73:06 - 73:09
    Turn on the lights. Follow me!
  • 73:10 - 73:12
    "Ring out, wild bells!"
  • 73:19 - 73:22
    Look around! You spread out!
    Come with me.
  • 74:32 - 74:34
    Everything is in order.
  • 74:34 - 74:37
    - Nothing is missing.
    - I checked. It isn't a short circuit.
  • 74:37 - 74:38
    Scientists!
  • 74:38 - 74:42
    A burglar alarm especially
    designed to give me heartburn.
  • 74:45 - 74:46
    - Sorry, sir.
    - Thank you.
  • 75:02 - 75:05
    Kler-Lafayette Museum.
    Senior Guard speaking.
  • 75:07 - 75:10
    I regret very much if the Minister
    and the Madam Minister...
  • 75:10 - 75:11
    have been disturbed.
  • 75:13 - 75:15
    Yes, I know it's a very loud alarm.
  • 75:16 - 75:17
    We don't know why it went off.
  • 75:17 - 75:19
    We checked everything, and
    so did the police. But....
  • 75:20 - 75:23
    No, sir, nothing is missing,
    and the alarms are set again.
  • 75:24 - 75:26
    I'm sorry, sir. Good night, sir.
  • 75:26 - 75:28
    The Prefecture of Police.
  • 75:28 - 75:30
    The alarm bells woke up the
    Minister of the Interior.
  • 75:31 - 75:32
    Good!
  • 75:45 - 75:46
    I'm so scared.
  • 75:46 - 75:48
    My heart's thumping.
  • 75:48 - 75:49
    I just feel terrible.
  • 75:49 - 75:54
    I'd send for a doctor but I honestly
    don't think he'd fit in the closet.
  • 75:54 - 75:57
    I'm so scared for you, too. I had
    no right to involve you in this.
  • 75:57 - 75:59
    And if you want to
    call it off, I....
  • 75:59 - 76:02
    Well, that's a kind thought and
    I appreciate it, but then....
  • 76:04 - 76:05
    What about Prof. Bauer?
  • 76:06 - 76:10
    What happens tomorrow when he turns
    up to test your million-dollar baby?
  • 76:12 - 76:15
    It's a fake, isn't it?
  • 76:17 - 76:19
    No long, involved stories
    at this time of night.
  • 76:19 - 76:21
    Just nod your head, yes or no.
  • 76:27 - 76:28
    Who carved it?
  • 76:32 - 76:35
    - My grandfather.
    - Who posed for it?
  • 76:37 - 76:38
    My grandmother.
  • 76:40 - 76:44
    - You're the first to notice a resemblance.
    - I'm very sensitive and perceptive.
  • 76:45 - 76:48
    How long have you known
    about her, and me, and....
  • 76:48 - 76:50
    Since you first asked
    me to steal it.
  • 76:52 - 76:55
    But then if you knew the
    Venus was worthless...
  • 76:55 - 76:56
    why did you....
  • 77:05 - 77:06
    That's why.
  • 77:08 - 77:10
    I'm so stupid.
  • 77:13 - 77:15
    Explain it to me again.
  • 77:31 - 77:35
    Funny how roomy it's
    suddenly become in here.
  • 77:35 - 77:37
    We're adjusting to our environment.
  • 77:38 - 77:39
    What is it?
  • 77:39 - 77:42
    I'm sorry. It's my engagement
    ring. I forgot about it.
  • 77:42 - 77:44
    So did I. Congratulations.
  • 77:44 - 77:47
    May I kiss the bride?
  • 77:50 - 77:53
    For one thing,
    whose bride am I kissing?
  • 77:53 - 77:57
    I don't know. Some American.
    His name's Leland Davis.
  • 77:58 - 78:00
    Or Davis Leland?
  • 78:00 - 78:02
    They're lucky fellows,
    both of them.
  • 78:03 - 78:05
    Second round coming up.
  • 78:06 - 78:08
    Just marking my place.
  • 78:09 - 78:10
    Don't go away.
  • 78:47 - 78:49
    Find him! Look around.
  • 79:26 - 79:29
    Pretty soon, someone's going to
    get awfully tired of this racket.
  • 79:32 - 79:34
    Normal human reaction.
  • 80:05 - 80:09
    Jacquart speaking, Senior Guard
    at the Kler-Lafayette Museum.
  • 80:11 - 80:13
    At your service, Excellency!
  • 80:15 - 80:17
    Yes, sir, I know it makes a
    terrible noise, Excellency.
  • 80:17 - 80:19
    It was installed for
    just that purpose.
  • 80:20 - 80:23
    No, Excellency,
    I didn't install it.
  • 80:24 - 80:26
    Yes, sir, I know it is
    the second time tonight.
  • 80:26 - 80:30
    It will be rectified right away.
    Good night, Excellency.
  • 80:32 - 80:35
    Now guess who we woke up?
  • 80:39 - 80:40
    Switch off the lights.
  • 80:41 - 80:43
    I'm going to turn it off!
  • 80:43 - 80:45
    Permanently!
  • 80:57 - 80:59
    It worked.
  • 80:59 - 81:02
    What do you know.
    They've turned off the A-B....
  • 81:04 - 81:07
    - It worked!
    - Didn't you expect it to?
  • 81:08 - 81:13
    - Pull yourself together. You're a genius.
    - I know. It's a funny feeling.
  • 81:14 - 81:18
    Look, wait until the moment
    of maximum confusion...
  • 81:18 - 81:22
    and then start scrubbing like mad in
    the direction of the guards' room.
  • 81:22 - 81:24
    - Guards' room?
    - That's right.
  • 81:24 - 81:25
    But the guards!
  • 81:25 - 81:28
    When they see that the Venus is gone
    there will be guards everywhere...
  • 81:28 - 81:30
    except the guards' room.
  • 81:32 - 81:34
    - Shall we?
    - Thank you.
  • 81:55 - 81:56
    Come here.
  • 82:04 - 82:06
    Hang on to your bucket.
  • 82:12 - 82:13
    Stay here.
  • 82:50 - 82:51
    You there, Nicole?
  • 82:52 - 82:53
    Get back there.
  • 83:04 - 83:07
    You know, Grandpa was pretty good.
  • 83:07 - 83:09
    To say nothing of Grandma.
  • 83:14 - 83:17
    Now, in the chimney with you,
    till the scrubwomen come.
  • 83:22 - 83:23
    Good luck.
  • 84:52 - 84:54
    What a night we've had!
  • 84:54 - 84:56
    One alarm after another. And
    telephone calls from everybody.
  • 84:57 - 84:59
    Who do you think called
    from across the street?
  • 85:26 - 85:29
    Don't just stand there gaping.
    Get to your post, man!
  • 85:30 - 85:32
    And don't hesitate
    when I give an order!
  • 85:44 - 85:46
    Alarm!
  • 85:51 - 85:53
    Robbers! Crooks!
  • 85:59 - 86:01
    Alarm!
  • 87:29 - 87:31
    Get this silly bottle out of here!
  • 88:11 - 88:14
    Can you give us a brief history
    of the Venus, Mr. Bonnet?
  • 88:14 - 88:15
    Have the police reported
    any progress yet?
  • 88:15 - 88:17
    Did you turn down
    $1,000,000 for it?
  • 88:17 - 88:18
    How did you learn
    about the robbery?
  • 88:18 - 88:21
    I woke up in the night
    with a sudden premonition.
  • 88:21 - 88:23
    I thought it was
    something I'd eaten.
  • 88:23 - 88:25
    But Mr. Grammont,
    the director of the museum...
  • 88:25 - 88:27
    he called and I believe
    he's on his way here.
  • 88:27 - 88:29
    Are you offering a reward
    for the return of the Venus?
  • 88:29 - 88:31
    No! What I mean to say is...
  • 88:31 - 88:35
    that it seems so commercial
    to think of money at a time like this.
  • 88:36 - 88:40
    I just heard the news. I can't
    believe my ears or my eyes.
  • 88:40 - 88:43
    Absolutely fantastic!
    To pull off a thing like that!
  • 88:43 - 88:45
    I guarantee that the
    police are investigating.
  • 88:45 - 88:48
    The police? Man, where's your spirit?
    If we wait for the police...
  • 88:48 - 88:51
    the Venus will be out of the country!
    We'll never set eyes on it again.
  • 88:51 - 88:55
    De Solnay, I'm still vitally interested
    in the Cellini Venus, hot or cold.
  • 88:55 - 88:56
    Do you know what I mean by that?
  • 88:57 - 89:00
    Leland! Do you know what you're saying?
    You're compounding a felony.
  • 89:01 - 89:04
    Offering to become a
    receiver of stolen goods.
  • 89:04 - 89:05
    I'm an art lover.
  • 89:06 - 89:10
    As a public service, I want to make an
    independent inquiry to help the police.
  • 89:10 - 89:11
    Is that a crime?
  • 89:11 - 89:13
    And if you find it, a
    step ahead of the police?
  • 89:13 - 89:15
    You let me worry about that.
  • 89:15 - 89:18
    - No, I'm an art dealer, not a fence.
    - A fence?
  • 89:19 - 89:22
    I'll do it entirely on my own.
    All I need is an opening contact.
  • 89:23 - 89:25
    - De Solnay? All right.
    - Wait!
  • 89:26 - 89:29
    There happens to be a man
    in Paris at the moment...
  • 89:29 - 89:31
    who specializes in
    matters of fine art.
  • 89:31 - 89:35
    His name is.... No, Leland, please!
    Think of what you're trying to do.
  • 89:35 - 89:38
    - What about Nicole Bonnet?
    - I want both. Nicole and the Venus.
  • 89:38 - 89:40
    Leland, remember? I sold
    you your first painting.
  • 89:40 - 89:42
    I made you a collector.
    I thought it'd help you relax.
  • 89:42 - 89:45
    It's great! I've never been
    so relaxed in all my life!
  • 89:45 - 89:48
    - Yes, I can see that.
    - All right. The name!
  • 89:48 - 89:50
    The name is Simon Dermott.
    He is staying at the Ritz.
  • 89:50 - 89:53
    Night Fighter calling Dawn Patrol.
  • 89:53 - 89:56
    Our telephone may be tapped, so we will
    conduct this conversation in Swahili.
  • 89:56 - 89:57
    How are you?
  • 89:57 - 89:59
    Did you sleep well?
  • 89:59 - 90:02
    Simon, isn't it too awful?
    I slept beautifully!
  • 90:02 - 90:05
    And I've just eaten an enormous
    breakfast. Isn't it ghastly?
  • 90:05 - 90:07
    It's your tainted blood.
  • 90:07 - 90:09
    Who? What?
  • 90:09 - 90:13
    She's fine. She's wrapped up in one
    of my old shirts, just as snug as can be.
  • 90:13 - 90:15
    I rocked her to sleep
    in my arms last night.
  • 90:15 - 90:17
    It's the first time I ever
    did that with a grandmother
  • 90:33 - 90:35
    Simon, do you think we
    should be seen together?
  • 90:39 - 90:42
    All right. In an hour
    at the Ritz bar.
  • 90:45 - 90:47
    The Cellini Venus was uninsured.
  • 90:47 - 90:49
    - Uninsured?
    - Yes.
  • 90:49 - 90:52
    But I vaguely recollect signing
    something for insurance.
  • 90:52 - 90:55
    But the policy was
    not yet in force.
  • 90:55 - 90:58
    Not until the technical
    examination had been made.
  • 90:58 - 91:01
    Yes, the technical examination.
  • 91:01 - 91:03
    Well, $1,000,000 more,
    $1,000,000 less.
  • 91:03 - 91:06
    I believe my father did buy it
    at a bargain price.
  • 91:06 - 91:08
    My dear sir, you are a prince.
  • 91:08 - 91:12
    I wish I could express
    properly what I feel.
  • 91:12 - 91:15
    Prof. Bauer, I dare say,
    will be greatly disappointed.
  • 91:15 - 91:18
    Yes, and I must meet him now.
  • 91:18 - 91:22
    Give him my regards, and say I'm sorry to
    have been unable to see him on this trip.
  • 91:22 - 91:25
    Now cheer up, my dear fellow. It's
    not the end of the world, you know.
  • 91:31 - 91:33
    Marcel, champagne!
  • 91:36 - 91:39
    - Where are you?
    - I'm here. We're saved!
  • 91:39 - 91:41
    - Isn't it marvelous?
    - My darling!
  • 91:41 - 91:44
    - Thank heaven for the criminal class.
    - I'm so happy.
  • 91:44 - 91:47
    You don't have to go to jail. I don't have
    to go to America. It's beautiful!
  • 91:47 - 91:49
    We must celebrate! Marcel,
    take it into the library.
  • 91:49 - 91:53
    We'll have a lunch and again tonight,
    fireworks, cocktails, a magnificent dinner!
  • 91:53 - 91:56
    But not right away. I have a very
    important appointment at the Ritz.
  • 91:56 - 91:59
    - But I'll be right back, I promise.
    - That's good.
  • 91:59 - 92:01
    I'll start by myself.
  • 92:03 - 92:06
    The Ritz? Again?
  • 92:19 - 92:23
    You realize what you're asking is
    extremely difficult and dangerous?
  • 92:23 - 92:26
    - Yes, I know that, Mr. Dermott.
    - Please, no names.
  • 92:26 - 92:28
    We may be up against some
    very desperate characters.
  • 92:29 - 92:31
    - Them?
    - Those.
  • 92:31 - 92:34
    Fortunately, I've a few contacts.
    In fact, this morning...
  • 92:34 - 92:38
    I made a few inquiries, you know, put
    out a few feelers. Just idle curiosity.
  • 92:38 - 92:40
    - You've got a lead?
    - Too early for anything concrete.
  • 92:40 - 92:42
    Let's just say I suspect
    who was involved.
  • 92:42 - 92:46
    Ls it, you know, what we're talking
    about, is it still in France?
  • 92:46 - 92:50
    I think so. I think I can definitely
    state it's still in France.
  • 92:51 - 92:54
    You realize you might be paying
    a great deal of money...
  • 92:54 - 92:57
    for something you could never exhibit,
    acknowledge, or even display...
  • 92:57 - 92:59
    - not even in your house?
    - Yes, I know. I want it!
  • 92:59 - 93:03
    I just want to take it out of the vault,
    all alone, just look at it now and then.
  • 93:03 - 93:07
    Know that it's mine, that I
    own it, that I can touch it.
  • 93:09 - 93:10
    One more thing.
  • 93:10 - 93:13
    Do you happen to know the owners,
    any member of the Bonnet family?
  • 93:13 - 93:16
    I've met Bonnet.
    I know his daughter, too.
  • 93:16 - 93:18
    As a matter of fact, I'm
    going to see her tonight.
  • 93:18 - 93:22
    Drop her! Don't see her. Don't
    even telephone her. That's vital!
  • 93:22 - 93:24
    Any contact with any member of the
    Bonnet family would be fatal.
  • 93:24 - 93:27
    - The criminals would suspect a trap.
    - But we're engaged.
  • 93:28 - 93:33
    You know, you're a lucky fellow. From
    what I hear, she's an enchanting girl.
  • 93:34 - 93:36
    What the hell! The world's full
    of statues. Forget the Venus.
  • 93:36 - 93:37
    No! Listen!
  • 93:37 - 93:40
    I'll do anything you say.
    I'll give you my word.
  • 93:44 - 93:48
    - I'll call you later in the day.
    - All right. You'll contact me. Thanks.
  • 93:48 - 93:51
    - Sit tight. Wait for the call.
    - Right.
  • 94:45 - 94:48
    - Do I look all right?
    - Fine. Why?
  • 94:49 - 94:53
    I just met this fellow, and he treated
    me like I was a leper or something.
  • 94:53 - 94:55
    I just wanted to
    give him back this.
  • 94:55 - 94:57
    Really? Have a drink.
    Good for morale.
  • 94:57 - 94:59
    Let's have some
    champagne to celebrate.
  • 95:00 - 95:02
    You can't celebrate a crime.
    That's immoral.
  • 95:02 - 95:05
    - You handle it. It's too confusing.
    - A bottle of Dom Perignon, please.
  • 95:05 - 95:07
    It's all right. You're
    at the awkward age.
  • 95:07 - 95:10
    Too old to be a juvenile delinquent,
    too young to be a hardened criminal.
  • 95:10 - 95:14
    We did it! Did you see the papers and
    the television? Did you hear the radio?
  • 95:14 - 95:18
    It's the crime of the century,
    practically. And we did it!
  • 95:18 - 95:22
    You were the brain behind it, but
    I was of some help, wasn't I?
  • 95:22 - 95:25
    I mean, we worked well together,
    considering it was our first job.
  • 95:25 - 95:27
    - Calm down.
    - I know I shouldn't carry on so...
  • 95:27 - 95:29
    it's all in a day's work for
    you, but it's my first burglary.
  • 95:29 - 95:33
    - And mine, too.
    - Bringing it off the way we....did
  • 95:36 - 95:37
    What?
  • 95:38 - 95:41
    My first burglary.
  • 95:47 - 95:49
    Then what were you doing
    in our house that night?
  • 95:49 - 95:51
    You're sure you want to know?
  • 95:57 - 96:01
    I'm a private detective, specializing
    in stolen works of art...
  • 96:01 - 96:05
    and in tracing, detecting,
    and exposing forgeries.
  • 96:06 - 96:08
    I am also an authority
    on museum security...
  • 96:08 - 96:10
    being a special consultant
    to principal museums...
  • 96:10 - 96:13
    in London, New York, Chicago,
    Madrid. Even Leningrad.
  • 96:13 - 96:15
    I have degrees
    in history of art and chemistry...
  • 96:15 - 96:19
    and a London University diploma, with
    distinction, in advanced criminology.
  • 96:25 - 96:27
    You're all of that?
  • 96:29 - 96:31
    Then you're not a burglar?
  • 96:32 - 96:35
    I was chipping a piece of your
    father's paint from that van Gogh...
  • 96:35 - 96:38
    when you loomed up in your
    nighty and shot me in the arm.
  • 96:46 - 96:48
    - Bring another glass.
    - Yes, sir.
  • 96:50 - 96:52
    I don't believe we've met.
    My name is Charles Bonnet.
  • 96:52 - 96:55
    - May I please join you?
    - Simon Dermott. By all means.
  • 96:55 - 96:59
    Papa, this is a friend of mine. He's a....
    I mean, he was telling me....
  • 96:59 - 97:03
    Yes. Blue eyes, tall,
    quite good-looking.
  • 97:03 - 97:04
    A terrible man!
  • 97:05 - 97:08
    I believe we have some
    interests in common.
  • 97:08 - 97:11
    You have two gorgeous girls
    in your family, Mr. Bonnet.
  • 97:12 - 97:16
    The other is upstairs, wrapped
    in a shirt, in my room.
  • 97:20 - 97:23
    And which, may I ask,
    do you intend to keep?
  • 97:23 - 97:25
    The real one.
  • 97:25 - 97:29
    - A very sound choice, if I may say so.
    - I think so.
  • 97:29 - 97:31
    And the other?
  • 97:31 - 97:33
    I have plans for her, too.
    I think you'll be pleased.
  • 97:33 - 97:34
    Really?
  • 97:34 - 97:36
    In fact I have to attend to her right
    now, so if you'll both excuse me?
  • 97:39 - 97:42
    Extraordinary!
    Is he always so abrupt?
  • 97:43 - 97:44
    Not in a closet.
  • 98:12 - 98:13
    Key!
  • 98:14 - 98:18
    You've done a wonderful job!
    You sure you don't want any money?
  • 98:21 - 98:24
    You will be contacted.
  • 98:24 - 98:27
    Don't worry if it's not
    in the near future.
  • 98:27 - 98:28
    Right!
  • 98:28 - 98:32
    The code word will
    be "togetherness."
  • 98:33 - 98:36
    "Togetherness." I got it.
  • 98:36 - 98:38
    - Happy landings!
    - The same to you!
  • 99:38 - 99:39
    My dear boy, what a coup!
  • 99:39 - 99:42
    And he's the only collector
    who'd never dare have it tested.
  • 99:42 - 99:46
    How much did you say
    he was paying for the Venus, my son?
  • 99:46 - 99:49
    I didn't say, Papa.
  • 99:49 - 99:51
    But I'm sure you picked
    a nice, round figure.
  • 99:51 - 99:53
    I have.
  • 99:53 - 99:56
    $0.00
  • 99:56 - 99:59
    Gift from Charles
    Bonnet to Davis Leland.
  • 99:59 - 100:02
    - But this...
    - Sit down, Mr. Bonnet.
  • 100:06 - 100:08
    You happen to be a forger.
  • 100:08 - 100:10
    My business happens to be
    catching forgers...
  • 100:10 - 100:12
    and putting them in prison.
  • 100:12 - 100:15
    Yes, that could be very awkward.
  • 100:16 - 100:18
    One of us has to retire.
  • 100:18 - 100:21
    Fair enough! Shall we
    toss a coin for it?
  • 100:23 - 100:25
    I've already tossed
    one on the way here.
  • 100:25 - 100:29
    - And?
    - You lost.
  • 100:30 - 100:32
    Come on. You had a great
    run, and you were the best.
  • 100:32 - 100:35
    Hang up your brushes and paints,
    and retire while you're on top.
  • 100:36 - 100:38
    What do you say, champ?
  • 100:41 - 100:44
    Here is my answer.
  • 100:47 - 100:50
    Indian wrestling at
    a time like this?
  • 100:50 - 100:51
    Nicole, my darling child.
  • 100:52 - 100:54
    You tell her. I'm too moved.
  • 100:54 - 100:56
    Papa has seen the light.
    He's going straight.
  • 100:57 - 101:00
    - Papa, will you be all right?
    - He'll survive.
  • 101:00 - 101:02
    If we miss our plane, we may
    be getting married in prison.
  • 101:02 - 101:04
    This is a most
    remarkable young man.
  • 101:04 - 101:07
    The way he explained things,
    the path of righteousness...
  • 101:07 - 101:09
    became clearly defined.
  • 101:09 - 101:12
    Now hurry, my children, before
    I break down completely.
  • 101:32 - 101:33
    The van Gogh?
  • 101:37 - 101:40
    Welcome! Come in....
  • 101:45 - 101:47
    Who's that?
  • 101:50 - 101:52
    Papa's cousin.
  • 101:53 - 101:55
    From South America.
  • 101:56 - 101:58
    Go! Go!
  • 102:02 - 102:05
    For someone who started
    lying just recently...
  • 102:05 - 102:08
    you're showing a real flair.
  • 102:09 - 102:11
    Thank you.
Title:
How to Steal a Million 1966 Comedy / Crime Movies Full Movie
Description:

How to Steal a Million

1966
Comedy / Crime
Nicole's father, a legendary art collector, lends his prized Cellini Venus to a prestigious Paris museum. Unfortunately, the Venus was *not* sculpted by Cellini but by Nicole's grandfather. (Her father is a forger as well, but his specialty is paintings.) Before tests can be done which would prove the Venus a fake, Nicole enlists the services of "society burglar" Simon Demott to steal the million dollar statue.

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Video Language:
English

English subtitles

Revisions