Deception (2018) s01e03 Episode Script
Escapology
1 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 [BEEPING.]
that one moment when we genuinely don't know what'll happen next.
No, no, no, no! [SIREN BLARING.]
That's how we know we're alive.
Oh, God! 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.
[POLICE RADIO CHATTER.]
- [EXPLOSIVES BEEPING.]
- 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? [CHUCKLES.]
[CELLPHONE VIBRATES.]
Vibrating pants.
Nice trick.
Thanks.
I also got a bunny in here.
Ooh.
[PHONE CLICKS.]
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.
- Can you cut through it? - 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.
[INDISTINCT CHATTER.]
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 really get 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.
[CELLPHONE RINGS.]
Promise you that.
Hello? What? Uh Wait.
It's for you.
- MAN: How are my hostages doing? - [WHISPERING.]
It's him.
Get him.
[NORMAL VOICE.]
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.
[BEEPS.]
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 promised her? 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? - What do you mean? Why? - Joan, let go of the gate.
[CELLPHONE RINGS.]
What did I say about the gate? Did you think I wasn't serious? 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.
- [EXPLOSIVE BEEPING.]
- He's going to blow the Cézanne.
No! Please! Joan, get down.
Joan, on the floor now! [INDISTINCT RADIO CHATTER.]
You all right? Looks bad.
Can I get you a bandage? No.
I, um I don't want him to see and [WHISPERING.]
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.
[NORMAL VOICE.]
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.
[CHUCKLES.]
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? Out of focus? 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.
[CHUCKLES.]
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-Why? 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? [SIGHS.]
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.
[BUZZER BLARES.]
[SIGHS.]
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? Are you crazy? 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.
[GLASS SHATTERS.]
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.
[BUZZER BLARES.]
[INDISTINCT CHATTER.]
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? Measuring? 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.
- [BAG THUDS.]
- You guys got here fast.
DINA: Yep, the police escorts really helped.
We drove so fast! [KNOCKING ON CEILING.]
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, [SIGHS.]
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.
[GRUNTING.]
You ready? I don't know.
That was rhetorical.
I'm gonna keep talking the whole time, all right? [BEEPING.]
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.
[GRUNTS.]
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 [LAUGHTER.]
[VOCALIZING.]
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! [CELLPHONE RINGS.]
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! [BEEPING.]
Everyone get down! - You okay? - Yeah.
DINA: Where's Kay? Ta-da? [INDISTINCT CHATTER.]
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.
[CHUCKLES.]
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.
[CHUCKLES.]
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.
[MIKE LAUGHS.]
Right.
I'll pick one next time I need some toothpaste.
[BOTH LAUGH.]
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.
[LAUGHING.]
"G-Guys"? That was all me, pal.
[CELLPHONE RINGING.]
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.
[TIRES SCREECH.]
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! [CHAIR CREAKS.]
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.
[CELLPHONE BEEPS.]
[CELLPHONE RINGS.]
[CHUCKLING.]
Maybe once a week.
- Mm-hmm.
- [BOTH CELLPHONES RING.]
- Sorry.
- I know.
BOTH: Hello? JOAN: Hello? [WHISPERING.]
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.
[SNIFFS.]
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.
[CELLPHONE RINGS.]
Hey, Kay.
Yeah, it's all good.
Your guys just got here.
KAY: What guys? [GASPS.]
Cameron? [TIRES SCREECH.]
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.
- [GRUNTS.]
- Are you okay? - [GROANING.]
- 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.
[BUZZER BLARES.]
[CELL CLOSES IN DISTANCE.]
[INDISTINCT CHATTER.]
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.
[COUGHS.]
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.
[SIGHS.]
Not yet, no, but You might? Point is, I'm getting us the hell out of here.
[COUGHS.]
It's simple.
You either honor our agreement or I tell everybody in here that you're a police informant.
[COUGHS.]
I saw the news story about the museum.
Nice work.
[COUGHING CONTINUES.]
You okay? - [GASPING.]
- This guy's choking.
He's choking! Hey! [WHEEZING.]
[COUGHS.]
Show's over.
[INDISTINCT CHATTER.]
You okay? Don't ever threaten me again.
JOAN: [WHISPERING.]
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? [CAR DOORS CLOSE.]
Where'd he go? [TIRES SQUEAL.]
[POLICE RADIO CHATTER.]
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 [SIGHS.]
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? [GUN COCKS.]
You weren't supposed to see this.
Drop the weapon! Drop it! [HANDCUFFS CLINK.]
[SIGHS.]
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 - [CLEARS THROAT.]
- [GUNTER CONTINUES INDISTINCTLY.]
You flipped the page and slipped away - [LAUGHS.]
- 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.
[BOTH LAUGH.]
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? [CHUCKLES.]
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.
[LAUGHS.]
I'd expect nothing less.
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 [BEEPING.]
that one moment when we genuinely don't know what'll happen next.
No, no, no, no! [SIREN BLARING.]
That's how we know we're alive.
Oh, God! 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.
[POLICE RADIO CHATTER.]
- [EXPLOSIVES BEEPING.]
- 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? [CHUCKLES.]
[CELLPHONE VIBRATES.]
Vibrating pants.
Nice trick.
Thanks.
I also got a bunny in here.
Ooh.
[PHONE CLICKS.]
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.
- Can you cut through it? - 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.
[INDISTINCT CHATTER.]
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 really get 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.
[CELLPHONE RINGS.]
Promise you that.
Hello? What? Uh Wait.
It's for you.
- MAN: How are my hostages doing? - [WHISPERING.]
It's him.
Get him.
[NORMAL VOICE.]
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.
[BEEPS.]
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 promised her? 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? - What do you mean? Why? - Joan, let go of the gate.
[CELLPHONE RINGS.]
What did I say about the gate? Did you think I wasn't serious? 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.
- [EXPLOSIVE BEEPING.]
- He's going to blow the Cézanne.
No! Please! Joan, get down.
Joan, on the floor now! [INDISTINCT RADIO CHATTER.]
You all right? Looks bad.
Can I get you a bandage? No.
I, um I don't want him to see and [WHISPERING.]
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.
[NORMAL VOICE.]
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.
[CHUCKLES.]
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? Out of focus? 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.
[CHUCKLES.]
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-Why? 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? [SIGHS.]
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.
[BUZZER BLARES.]
[SIGHS.]
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? Are you crazy? 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.
[GLASS SHATTERS.]
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.
[BUZZER BLARES.]
[INDISTINCT CHATTER.]
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? Measuring? 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.
- [BAG THUDS.]
- You guys got here fast.
DINA: Yep, the police escorts really helped.
We drove so fast! [KNOCKING ON CEILING.]
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, [SIGHS.]
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.
[GRUNTING.]
You ready? I don't know.
That was rhetorical.
I'm gonna keep talking the whole time, all right? [BEEPING.]
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.
[GRUNTS.]
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 [LAUGHTER.]
[VOCALIZING.]
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! [CELLPHONE RINGS.]
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! [BEEPING.]
Everyone get down! - You okay? - Yeah.
DINA: Where's Kay? Ta-da? [INDISTINCT CHATTER.]
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.
[CHUCKLES.]
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.
[CHUCKLES.]
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.
[MIKE LAUGHS.]
Right.
I'll pick one next time I need some toothpaste.
[BOTH LAUGH.]
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.
[LAUGHING.]
"G-Guys"? That was all me, pal.
[CELLPHONE RINGING.]
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.
[TIRES SCREECH.]
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! [CHAIR CREAKS.]
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.
[CELLPHONE BEEPS.]
[CELLPHONE RINGS.]
[CHUCKLING.]
Maybe once a week.
- Mm-hmm.
- [BOTH CELLPHONES RING.]
- Sorry.
- I know.
BOTH: Hello? JOAN: Hello? [WHISPERING.]
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.
[SNIFFS.]
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.
[CELLPHONE RINGS.]
Hey, Kay.
Yeah, it's all good.
Your guys just got here.
KAY: What guys? [GASPS.]
Cameron? [TIRES SCREECH.]
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.
- [GRUNTS.]
- Are you okay? - [GROANING.]
- 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.
[BUZZER BLARES.]
[CELL CLOSES IN DISTANCE.]
[INDISTINCT CHATTER.]
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.
[COUGHS.]
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.
[SIGHS.]
Not yet, no, but You might? Point is, I'm getting us the hell out of here.
[COUGHS.]
It's simple.
You either honor our agreement or I tell everybody in here that you're a police informant.
[COUGHS.]
I saw the news story about the museum.
Nice work.
[COUGHING CONTINUES.]
You okay? - [GASPING.]
- This guy's choking.
He's choking! Hey! [WHEEZING.]
[COUGHS.]
Show's over.
[INDISTINCT CHATTER.]
You okay? Don't ever threaten me again.
JOAN: [WHISPERING.]
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? [CAR DOORS CLOSE.]
Where'd he go? [TIRES SQUEAL.]
[POLICE RADIO CHATTER.]
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 [SIGHS.]
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? [GUN COCKS.]
You weren't supposed to see this.
Drop the weapon! Drop it! [HANDCUFFS CLINK.]
[SIGHS.]
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 - [CLEARS THROAT.]
- [GUNTER CONTINUES INDISTINCTLY.]
You flipped the page and slipped away - [LAUGHS.]
- 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.
[BOTH LAUGH.]
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? [CHUCKLES.]
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.
[LAUGHS.]
I'd expect nothing less.