Thomas Crown Affair The 1999 PDF

METRO GOLDWYNMAYER
COMBINEDCONTINUITY
&
MASTERENGLISHSUBTITLE/SPOTTING
LIST
"THE THOMASCROWNAFFAIR"(feature)
EXHIBITION REEL FOOTAGES:

REEL lAB
REEL 2AB
REEL 3AB
REEL 4AB
REEL 5AB
REEL 6AB
1383-08
1596-12
1772-08
1869-11
1702-00
1860-12
10185-03
TOTAL EXHIBITION FOOTAGE: 10,185 Feet + 3 Frames

TOTAL NUMBEROF~REELS:
6 (2,000foot)
TOTALRUNNING
TIME: 1 Hour 53 Minutes 10.12 Seconds
Preparedby:
MASTERWORDS
15121 lth Street #203
Santa Monica, CA 90401
(310) 394-7998/390-1033
AUGUST
31, 1999
"THE THOMASCROWN
AFFAIR"
R/lAB PI1
TITLE
NO.
COMBINEDCONTINUITY& DIALOGUE
MASTER
ENGLISHSUBTITLE/SPOIrlNG LIST
LABORATORY:0.01 AT START MARK
START MEASURING
0.01 AT START MARKIN
ACADEMYLEADER.
12-00
136.13 = 1ST SCENEEND

149.14 = 2ND SCENEEND
SCENE1 - MGMLOGOFADESIN:
236.14 = 3RD SCENEEND
Metro GoldwynMayer
(Scope)
ARSGRATIAART]S
TRADE
[lion logo]
75
A LEGACYOF E~CELLENCE
LOGOFADES OUT.
27-00
SCENE2 - ORANGEDUNELIKESHAPESSHIFT
ACROSSBLACK BG.
MT#1FADESIN:
METRO-GOLDWYN-MAYER
PICTURESpresents
THE LETTERS"O" AND THE LETTERS"R"
SWITCHPLACES, THEN MT#1 FADESOUT.
MT#2 FADESIN:
an
IRISH
DREAMTIME
production
THE LETTERS"1" ANDTHE LETTERS"R"

SWITCHPLACES.
PSYCHIATRIST
(voice over)
I want you to talk about women.
MT#2 AND SCENEFADE TO BLACK.
1
ITAL
50-06
45o12
49.0
3.4
PSYCHIATRIST
TO CROWN)
(voice over)
I wantyou to talk about women.
(note that a femalePsychiatrist is
meeting with ThomasCrown, a
sophisticatedmulti-millionaire
businessman- he doesnt respond to
her remark)
(IAB-1)
"THE THOMASCROWNAFFAIR"
R/lAB PI2
COMBINED
CONTINUITY& DIALOGUE
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOTTING
LIST
FADEIN:
SCENE3 - INT. PSYCHIATRISTS
OFFICEDAY - CS - BILLIONAIRE THOMAS
CROWN
STARESOFF R, DEEPIN THOUGHT.
54.0
56.0
2.0
PSYCHIATRIST TO CROWN)
Mr. Crown?
(Crownreturns his attention to the
Psychiatrist)
57.2
59.0
1.14
CROWNTO PSYCHIATRIST)
Im sorry.
59.4
60.12
1.8
Women.
62.12
65.8
2.12
Youveyet to talk about women..
66.0
68.6
2.6
Oh, I enjoy women.
7
ITAL
69.0
71.8
2.8
PSYCHIATRIST
TO CROWN)
(voice over)
E_njoyment
isnt intimacy.
(meaningthat just becauseCrown
enjoys being with women,doesnt
necessarily meanhe has the ability to
be emotionally intimate)
8
ITAL
72.0
75.0
3.0
CROWN
TO PSYCHIATRIST)(voice over)
Intimacy isnt necessarily enjoyment.
9
ITAL
75.8
77.12
2.4
PSYCHIATRIST
TO CROWN)
(voice over)
Howwould you know?
(Crownshrugs)
PSYCHIATRIST
(off)
Mister Crown?
CROWNABRUPTLYTURNSL TO THE O.S.
PSYCHIATRIST AS CAMERASLOWLYPULLS
BACK.
CROWN
Im sorry.
PSYCHIATRIST
(off)
Women.Youve yet to talk about women.
CROVVN
Oh, I enjoy women.
SCENEFADESTO BLACK.
68-08
FADEIN:
SCENE4 - ORANGEDUNELIKE SHAPESSHIFT
ACROSSBLACK BG.
MT#3 FADESIN:
a JOHNMcTIERNAN
film
THE LETTERS"N" SWITCHPLACES.
PSYCHIATRIST
(voice over)
Enjoyment
isnt intimacy.
CROWN
(voice over)
Andintimacy isnt necessarily enjoyment.
PSYCHIATRIST
(voice over)
Howwould you know?
77-03
(lAB - 2)
R/lAB PI3
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"rlNGLIST
FADEIN:
OFFICEDAY - MCS- CROWN
LOOKSLFG AT THE O.S.
PSYCHIATRISTANDGRINS.
CROWN
Well.... (chuckles)
CROWNTURNS AWAY AND LOOKS DOWNR,
THINKING, THENSCENEFADESTO BLACK.
82-05
FADEIN:
SCENE6 - ORANGEDUNELIKESHAPESSHIFT
AGAINST BLACK BG.
MT#4FADESIN:
PIERCE BROSNAN
THE LETTERS"R" SWITCHPLACES.
PSYCHIATRIST
(voice over)
Hasit occurred to you that you have a problem
10
ITAL
83.8
89.0
5.8
PSYCHIATRIST
TO CROWN)
(voice over)
Do you realize you have a problem with
trust?
11
90.8
93.0
2.8
I trust myselfimplicitly.
12
93.8
95.8
2.0
Yes,but...
with trust?
88-06
FADEIN:
OFFICEDAY - MCS- CROWN
PSYCHIATRIST.
CROWN
(chuckles)I trust myselfimplicitly.
PSYCHIATRIST
(off)
Yes,but...
SCENEFADESTO BLACK.
95-11
(lAB - 3)
RJlABPI4
TITLE
NO.
LIST
DISSOLVETO:
SCENE8 - DARKDUNELIKESHAPESSHIFT
AGAINST ORANGEBG.
MT#5FADESIN:
RENE RUSSO
THE LETTERS"R" SWITCHPLACES.
PSYCHIATRIST
(voice over)
...can other peopletrust you?
CROVMN
(voice over)
Well, you meansociety at large?
PSYCHIATRIST
(voice over)
I meanwomen...
102-08
13
ITAL
95.12
98.8
2.12
PSYCHIATRIST
TO CROWN)
(voice over)
...can other peopletrust you?
14
ITAL
99.0
101.4
2.4
CROWN
Youmeansociety at large?
(at large : i,e., in general)
15
ITAL
101.8,
105.4
3.12,
PSYCHIATRIST
TO CROWN)
(voice over)
I meanwomen,Mr. Crown.
16
107.0
111.8
4.8
CROWN
TO PSYCHIATRIST)
Yes, a womancould trust me.
17
112.0
113.8
1.8
Could?
FADEIN:
OFFICEDAY - CS - CROWN
PSYCHIATRIST AND NODS.
PSYCHIATRIST(o~
...Mister Crown.
CROWN
Yes. (smackslips) a womancould trust me.
PSYCHIATRIST
(off)
Could?
SCENEFADES TO BLACK.
113-01
(lAB - 4)
"THE THCMASCROWNAFFAIR"
R/lAB PI5
TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOTIINGLIST
FADEIN:
SCENE10 - DARKDUNELIKESHAPESSHIFT
AGAINST. ORANGE
BG.
MT#6 FADESIN:
DENIS LEARY
THE LETTERS"E" SWITCHPLACES.
PSYCHIATRIST
(voice over)
Under what extraordinary circumstances would
18
ITAL
114,0
120.4
6.4
PSYCHIATRIST
TO CROWN)
(voice over)
Under what circumstances would you allow
that to happen?
19
i25.12
129.4
3.8
A woman
could trust me...
20
132.5
136.13/ 4.8
...as long as her interests werent contrary
to mine.
21
140,5
144.5
Andsociety at large?
(society at large : see Title #14)
22
144.13
149.13/ 5.0
you allow that to happen?

120-10
FADEIN:
-.

OFFICEDAY - CS - CROWNPAUSESTHOUGHTFULLY
A MOMENT,THEN LOOKSLFG AT THE O.S.
PSYCHIATRIST.
CROWN
A woman
could trust me...as long as her
interests didnt run too contrary to myown.
PSYCHIATRIST
(off)
(chuckles - continues underfollowing scene)
136-13
SCENE12 - MCS- THE PSYCHIATRIST,AN
ATTRACTIVE MIDDLE-AGED WOMAN,LOOKS
UP WITH A GRIN, THENLOOKSRFGAT O.S.
CROWN.
PSYCHIATRIST
Andsociety at large? If its interests wereto run
4.0
counter to your own?

149-14
.SCENE 13 - CS - CROWN
LOOKSLFG AT THE
O.S. PSYCHIATRISTANDSMILESSLYLY.
CROWN
Hmm.
If its interests wereto run counterto
yours?
(run counter : be directly opposed)
(Crownjust smiles)
SCENEFADESTO BLACK.
156-11
(lAB - 5)
"THE THOMACCROWNAFFAIR"
R/lAB PI6
MASTER
ENGLISHSUBTITLE/SPOIrlNGLIST
FADEIN:
SCENE 14 - ORANGEDUNELIKESHAPES
SHIFT IN UPPERAND LOWERSECTIONSOF
FRAMEAGAINST BLACK BG.
MT#7 FADESIN:
THE THOMASCROWNAFFAIR
THE LETTERS"T", THELETTERS"O", THE
LETTERS"A", THE LETTERS"R" ANDTHE
LETTERS"H" SWITCHPLACES, THEN MT#7
AND SCENEFADE TO BLACK.
165-06
23
157.9
164.5
6.12
MAINTITLE)
THE THOMASCROWNAFFAIR
(note that this is a remakeof a 1968
film starring Steve McQueen
and Faye
Dunaway)
FADEIN:
SCENE15 - EXT. OUTERSPACEo LS LOOKING DOWNAT THE STATES OF NEW
YORK AND NEWJERSEY AS CAMERAZOOMS
IN ON MANHATTAN
ISLAND. SCENE FADES
TO BLACK.
171-04
FADEIN:
SCENEt6 - DARKDUNELIKESHAPESSHIFT
AGAINST ORANGEBG:
MT#8FADESIN:
BEN GAZZARA
THE LETTERS"A" SWITCHPLACES, THEN
178-06
SCENE17 - EXT. OUTERSPACE- LS LOOKING DOWNAT MANHATTANISLAND
BETWEENTHE NEW JERSEY AND LONG
ISLAND SHORES, AS CAMERAZOOMSIN ON
IT. SCENEFADESTO BLACK.
183-06
(lAB - 6)
tITLE
NO.
MASTERENGLISHSUBTITL~SPOTTING
LIST
FADEIN:
SCENE18 - ORANGEDUNELIKE SHAPES
SHIFT AGAIlU~T BLACKBG:
MT#9FADESIN:
FRANKIE FAISON
THE LETTERS"N" SWITCHPLACES, THEN
190-08
FADEIN:
SCENE19 - EXT. OUTERSPACE- LS LOOKING DOWNAT THE CENTEROF
MANHATTANISLAND AS CAMERAZOOMSIN
ON CENTRALPARK. SCENEFADES TO
BLACK.
195-00
FADEIN:
SHIFT AGAINSTBLACKBG.
MT#10FADESIN:
FRITZ WEAVER
THE LETTERS"E" SWITCHPLACES, THEN
202-00
FADEIN:
SCENE2t - EXT. OUTERSPACE- LS LOOKING DOWNAT CENTRALPARK AS
CAMERAZOOMSIN ON THE MUSEUM, WHICH
IS ON THE EASTERNEDGEOF THE PARK.
SCENEFADES TO BLACK.
206-04
(lAB - 7)
R/lAB PI8
TITLE
NO.
MASTER
ENGLISHSUBTITLF_/SPOI"IING
LIST
FADEIN:
SCENE22 - ORANGEDUNELIKESHAPES
MT#11FADESIN:
CHARLESKEATING
MARK MARGOLIS
THE LETTERS"A" SWITCHPLACES, THEN

214-06
FADEIN:
SCENE23 - EXT. SKY ABOVEMANHATTAN
DAY - LS - CAMERAPLUMMETSDOWN
TOWARDFIFTH AVENUEIN FRONTOF THE
MUSEUM,REVEALINGA TRAFFIC JAM.
SCENEFADESTO BLACK.
221-04
FADEIN:
MT#12 FADESIN:
and
FAYE DUNAWAY
THE LETTERS"Y" SWITCHPLACES, THEN

228-00
FADEIN:
SCENE26 - EXT. FIFTH AVENUE
- DAY- FS HIGH ANGLE - LOOKINGSTRAIGHTDOWNAT
THE TRAFFIC JAM AS CAMERAPLUMMETS
DOWNTO THE ROOFOF A LIMOUSINE
STUCKIN THE MIDDLEOF THE TRAFFIC.
233-02
(lAB - 8)
R/IAB PI9
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOI"I"INGLIST
QUICK DISSOLVETO:
SCENE
26 - INT. LIMOUSINE
- DAY- ECSLOOKINGAT A PATCHOF TWEEDFABRIC,
WHICHIS QUICKLY PULLEDBACK TO REVEAL
A WATCHON CROWNSWRIST. THE TIME IS
1:45.
236-14
SCENE27 - MCS- CROWN
IS SITTING
IMPATIENTLYIN THE BACKSEAT OF THE
LIMO, LOOKINGAT HIS WATCH.
MT#13FADESIN:
casting
by
PATMcCORKLE,
C.S.A.
MT#13 FADESOUT.
CROWN
LOOKSRFG AT HIS O.S. DRIVER.
CROWN
Jimmy,I think Ill
walkfor a while. Ill
24
242.8
248.12/
6.4
25
/249.2 253.8
4.6
(over sceneend)
meetyou
at the office.
CROWN
OPENSHIS DOOR, GRABSHIS O.S.
BRIEFCASEAND STARTSTO MOVEL OUT OF
THE LIMO.
248-1
CROWNTO DRIVER)
Jimmy,I think Ill walk. Ill meetyou at the
office.
(walk : i.e., walk to the office)
(note that Crownis sitting in his
limousine, whichis stuck in Manhattan
traffic - his Driver is named
Jimmy)
SCENE26 - EXT. FIFTH AVENUE

- DAY- MS LOOKING THROUGHCROWNS OPEN DOOR
TO HIS MALE DRIVER LOOKINGBACK AT HIM
AS HE GETS OUT.
CROWNSDRIVER
Youwant meto take your briefcase?
CROWNEXITS RFG AND STARTS TO SHUT
THE DOOR.
CROWN
(face off)
Uh,(off) no, Ill carryit.
252-08
DRIVER TO CROWN,THEN
CROWNTO DRIVER)
-Shall I take your briefcase?
-No,Ill carryit.
(it :i.e., my briefcase)
(Crowngets out of the limousine with
his briefcase - walking acrosslanes of
traffic, heis nearlyhit by a freight
truck, which brakesfor him - Crown
gesturesfor the driver to continueon)
(lAB - 9)
"THE THOMASCROWNAFFAIR" R/lAB PI10

TITLE
NO.
SCENE29 - FS - CROWN
SHUTSTHE LIMO
26
DOORAND WALKS MAKESHIS WAY R
THROUGHTHE LANES OF STOPPEDTRAFFIC
AS CAMERADOLLIES IN ON HIM. THE FRONT
OF THE MUSEUM
IS VISIBLE IN RBG.
MASTER
(OUT)
MT#14FADESIN:
music by
BILL CONTI
MT#14 FADESOUT.
CAMERAPANS R WITH CROWNSTORSOIN
MS TO REVEALTHE FRONTOF A FREIGHT
TRUCKAS IT SKIDS TO A STOPJUST SHORT
OF HITTING CROWN.ITS HORNHONKS.
263-08
SCENE30 - MS - LOOKINGDOWNPAST THE

FREIGHT TRUCKDRIVER, POKINGHIS HEAD
OUT HIS WINDOWIN RFG, TO CROWN
AS HE
STOPSJUST SHORTOF BEING HIT BY THE
TRUCK.
FREIGHT TRUCKDRIVER
Whoa!Jesus Christ.
27
266.2
28
273.4
268.0/ 1.14
268-01
TRUCKDRIVER TO HIMSELF)
JesusChrist.
(Jesus Christ : colloquial interjection
of annoyance)
SCENE31 - MS o LOOKINGUP PAST CROWN,

LFG, TO THE FREIGHT TRUCKDRIVER
GLARING OUT HIS WINDOWAT CROWN.
271-02
SCENE32 - MS - LOOKINGDOWNPAST THE
FREIGHT TRUCKDRIVER, RFG, TO CROWN
AS HE GESTURESFOR THE DRIVER TO
MOVEAHEAD.
FREIGHT TRUCKDRIVER
Lookat this jerk.
275-06
275.6/
2.2
Lookat this jerk.
(jerk : annoyingidiot - referring to
Crown)
(the truck continues on - Crownwalks
to the museum
and enters - he moves
through the museum,then stops in an
Impressionistgallery - he sits across
from a painting, VanGoghs"The
AfternoonSiesta" - the Proctor for the
Impressionist wing, Proctor McKinley,
enters)
(lAB- 10)
"THE THOMASCROWNAFFAIR" R/IAB P111

TITLE
NO.
MASTER
LIST
SCENE33 - MS - LOOKINGUP PAST CROWN,

LFG, TO THE FREIGHTTRUCKAS IT MOVESL
PAST HIM. HE WAITS FOR IT TO PASS, THEN
WALKSTO THE CURBAND HEADSLBG TO
THE MUSEUMSTEPS, CAMERAPANNING
WITHHIM INTO FS.
MT#15FADESIN:
visual effects
JOHN SULLIVAN
MT#15 FADESOUT.
CAMERA
TILTS UP, OFF CROWN,TO THE
BANNERSHANGING DOWNOVER THE
MUSEUMENTRANCE.
289-07
SCENE34 - INT. MUSEUM/LOBBY
o DAYMFS - CROWNWALKSL ACROSSTHE LOBBY,
CAMERADOLLYING WITH HIM PAST OTHER
MUSEUMPATRONS.
PEOPLE IN MUSEUM
(low andindistinct chatter - continuesunder
following scenesand dialogue)
MT#16FADESIN:
costume designer
KATE HARRINGTON
MT#16 FADESOUT.
CAMERACONTINUESDOLLYING PAST A
LARGE COLUMNIN FG TO REVEAL A BROAD
HALLWAYTHAT EXTENDSINTO BG. CROWN
TURNSAND WALKSBG DOWNTHE HALL.
297-14
(lAB - 11)

COMBINED
TITLE
NO.
MASTER
LIST
SCENE35 - MS - CAMERA
TILTS UP FROM
THE BRIEFCASEIN CROWNSHA~NDTO HIS
BACK, THENDOLLIES IN WITH HIM AS HE
WALKS RBG DOWNTHE HALL.
MT#17FADESIN:
film editor
JOHNWRIGHT,A.C.E.
MT#17 FADES.OUT.
308-01
SCENE36 - INT. MUSEUM/EGYPTIAN
WINGDAY- MFS- CAMERA
DOLLIESIN ON A SET
OF EGYPTIANSTATUES, THEN SWISH PANS
R, OFF THEM, TO REVEALCROWNWALKING
BG DOWNA SMALL HALLWAY. HE PASSESA
SMALL SIGN WITH A MAGRITTEPICTURE ON
IT.MT#18FADESIN:
production design
BRUNO RUBEO
MT#18 FADESOUTL
314-15
SCENE37 - INT. MUSEUM/GALLERIES
- DAYFS - CAMERA
DOLLIES IN THROUGH
A
DOORWAY
AND TILTS DOWNFROM THE
SKYLIGHTS TO REVEAL CROWNENTERING
THE GALLERY THROUGHA DOORWAY
AT
THE FAR END.
MT#19 FADESIN:
director of photography
TOM PRIESTLEY
MT#19 FADESOUT.
CROWNHEADS L TO A SIDE DOORWAY
AND
EXITS.
323-13
(lAB- 12)
"THE THOMASCROWNAFFAIR" R/lAB PIt3

TITLE
NO.
LIST
SCENE38 - MS - CAMERAFOLLOWSCROWN
AS HE WALKSTHROUGHA RED-WALLED
GALLERY AND TURNSL THROUGHA SMALL
DOORWAY
INTO THE IMPRESSIONIST
GALLERY.
MT#20FADESIN:
co-producer
ROGERPARADISO
MT#20 FADESOUT.
CAMERAHOLDS IN THE DOORWAY
AS
CROWNWALKS TO THE MIDDLE OF THE
GALLERY.
334-07
SCENE39 - INT. MUSEUM/IMPRESSIONIST
GALLERY- DAY - MS - CROWN
MOVES
SLOWLYTO THE MIDDLE OF THE GALLERY
AS CAMERA
DOLLIES IN ON HIS FACE.
MT#21FADESIN:
executive producer
MICHAEL TADROSS
MT#21 FADESOUT.
CAMERAHOLDS ON CROWNSEYES IN ECS
AS HE STOPSAND STARESLFG AT AN O.S.
PAINTING.
345-10
SCENE40 - MS - CROWNSPOV- CAMERA
PANS R AROUNDTHE GALLERY, STARTING
ON VAN GOGHS"AFTERNOONSIESTA" AND
MOVING PAST ANOTHERVAN GOGHAND
SOME MONETS.
MT#22FADESIN:
produced by
PIERCE BROSNAN
and
BEAUSt. CLAIR
MT#22 FADESOUT.
(lAB - 13)
R/lAB PI14
TITLE
NO.
MASTER
ENGLISH
SUBTITLE/SPOIIING LIST
SCENE40 - (CONTINUED)
MT#23FADESIN:
storyby
ALAN R. TRUSTMAN
MT#23 FADESOUT.
CAMERACONTINUESMOVING PAST A SMALL
PAINTING -- MONETS"SANGIORGIO
MAGGIORO"
-- AND STARTSTILTING DOWN.
MT#24FADESIN:
screenplay by
LESLIE OIXON
&
KURT WlMMER
MT#24 FADESOUT.
CAMERACONTINUESTILTING DOWN,OFF
THE PAINTING, AND PANS R TO REVEAL
CROWNSBRIEFCASEON HIS LAP. HE
SHUTS THE BRIEFCASEAND SETS IT DOWN
OUT OF FRAME, THEN OPENSUP A PAPER
LUNCHBAG HE TOOKOUT OF IT~ HE TAKES
A CROISSANTOUT OF THE BAG AS CAMERASLOWLY
TILTS UP TO HIS FACE. ,
PROCTOR
MCKINLEY(off).
Morning, Mister Crown.
29
380.10 383.6
30
384.8
386.4
31
387.0
389.2!
2.12
PROCTORMCKINLEY TO CROWN)
Morning, Mr. Crown.
CROWNGLANCESBACK TO SEE PROCTOR

MCKINLEYCOMINGUP BEHIND HIM IN RBG.
CROWN
Bobby.
1.12
CROWN
TURNSTO LOOKLFG AT THE O.S.
VAN GOGHPAINTING AGAIN AS CAMERA
HOLDSIN MCS. MCKINLEYSTANDSBEHIND
HIM.
PROCTORMCKINLEY
(chuckles) Backfor your haystacks, hm?
389-04
2.2
CROWNTO PROCTORMCKINLEY)
Bobby.
(diminutive nickname
for, Robert.)
Backfor your haystacks?
(Back for : Youve returned to see)
(your haystacks: referring to the
painting "The AfternoonSiesta", which
showsworkers taking a nap against
somehaystacks)
(lAB - 14)
"THE THOMASCROWNAFFAIR" R/lAB P115

TITLE
NO.
LIST
SCENE41 - FS - HIGH ANGLE- LOOKING

DOWNAT CROWN,SEATEDON A BENCH,
AND PROCTORMCKINLEY, STANDING R
BEHIND HIM, AS CROWN
GAZESL AT VAN
GOGHS"AFTERNOON
SIESTA".
MT#25FADESIN:
LABORATORY:
THE FOLLOWINGTWOTITLES, #32 & #33,
directed
by
ARE TO APPEARIN THE UPPERONE-THIRDOF THE FRAME
JOHN McTIERNAN
TO AVOID DOUBLE-PRINTINGWITH OPENINGCREDITS.

MT#25 FADESOUT.
CROWN
Dont ever let it go on tour, Bobby.
32
3908
33
394.8
34
35
393.12 3.4
PROCTORMCKINLEY
Oh, Ill lay downthe law. (chuckles) Youre,
youre an odd duck. Everybodyelse...
Dontever let it go on tour.
(it : "The AfternoonSiesta")
(go on tour : i.e., be removedfrom
the collection at the museum
and
displayed in a series of other museums
as part of an art collection tour)
403-09
397.4
2.12
Ill lay downthe law.
(colloquial for,"lll bluntly state the
truth of a situation or the waythings
shouldbe. - dryly implyingthat he will
tell the museum
headsthat the
painting is not to be removed)
399.12 406.8
(over scene end)
6.12
Youre an odd duck. Everyoneelse goes
for the Monet.
(odd duck: colloquial for, unusual
fellow)
(goes for : i.e., immediatelygoesto
look at)
(Monet : Claude Monet, French
painter whowasthe initiator and leader
of the Impressioniststyle - i.e.,
painting by Monet)
(the Proctor gesturesto a painting by
Monethanging nearby - Crownglances
at it)
417.12
2.8
Its verynice.

STARESLFG AT
THE O.S. VAN GOGHPAINTING, EATINGHIS
CROISSANT,AS MCKINLEY, STANDINGRBG
BEHINDHIM, POINTS L AT THE O.S. MONET
PAINTING.
PROCTORMCKINLEY.
..goesright for the Monet.
CROWN
(overlapping)
(chews)
CROWN
TURNSTO LOOKL AT THE O.S.
MONET, THEN CAMERAPANS L, OFF CROWN
AND MCKINLEY TO HOLD ON THE MONET
PAINTING, "SANGIORGIOMAGGIORO".
4t4-04
SCENE43 - MS - CROWN,R, LOOKSLFG AT
THE O.S. MONETFOR A MOMENTAS
MCKINLEY STANDS BEHIND HIM. CAMERA
SLOWLYDOLLIES R:
CROWN
Well, (chewing)its very nice
420.4
(lAB - 15)
.,
~THE THOMAS
CROWN
AFFAIR" R/lAB P116
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI-rlNG LIST
CROWN
TURNSTO LOOKR AT THE O,S, VAN
GOGHAGAIN AS CAMERACONTINUES
CIRCLING R AROUNDHIM.
36
420.12
426.0
CROWN
I just like myhaystacks,Bobby:
37
430.4
433.12 3.8
I just like myhaystacks,Bobby.
CAMERAHOLDS ON CROWNIN CENTER

FRAMEIN MCS.
435-04
37A
437.8
443.8
6.0
TRUCKDRIVER TO CAR DRIVER)

(annoyed)
Yo, you better moveit. Comeon, buddy,
go~
(Yo : slang interjection usedto attract
someonesattention)
(moveit : i.e., moveyour car out of
the way)
(buddy : colloquial termofdirect
address, often used whenaddressing a
stranger with anger or contempt)
(note that back outside, the Truck
Driver is reacting with annoyance
to
the difficult traffic as hedrives the
truck to the museum
- he is shouting at
the car in front of him, whichis
stoppedand blocking his accessto the
loading dock driveway -the car moves
out of the way, andthe Driver drives to
the loading dock)
38
452.6
455.0
2.10
JesusChrist.
(interjection of annoyance)
(the Driver stops the truck, gets out,
andgive his manifestto a security
guardnamed
J J, whostudies it)
PROCTORMCKINLEY
Nice? Do you knowwhat its
5.4
worth?
SCENE44 - EXT. MUSEUM

ALLEY - DAY - MFS
- LOOKINGTHROUGHHEAVYTRAFFIC TO A
SIDE ALLEY OF THE MUSEUMWHERETHE
FREIGHTTRUCKIS WAITING BEHINDA
STOPPEDCAR. THE TRUCKDRIVER HONKS
HIS HORN.
FREIGHTTRUCKDRIVER(off)
Yo, you better moveit. Comeon, buddy. Shit.
Go. Moveit.
THE CAR AHEADOF THE TRUCKMOVESOUT
OF THE WAY, AND THE FREIGHT TRUCK
~THEN SHIFTS INTOGEAR ANDMOVESDOWN
THE ALLEY: CAMERASWISH PANS R, OFF
THE ALLEY; TO HOLD ONTHEFRONTOF_THE
MUSEUM.
448-10
Nice? Do you knowwhat its worth?
SCENE46 - INT. FREIGHTTRUCKCAB - DAY MS - PAST THE DRIVER, LFG, AND THROUGH
THE WINDSHIELDTO THE ALLEY AS THE
DRIVER TURNS THE TRUCK AROUNDSOME
CORNERSINTO A DRIVEWAYAT THE BACK
OF THE MUSEUM.
FREIGHT TRUCKDRIVER
JesusChrist.
ONE OF THE SECURITY GUARDSWAVESTHE
TRUCK DRIVER THROUGH.
MUSEUMBACK SECURITY
Straight on.
461-11
(lAB- 16)
R/lAB PI17
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI-FINGLIST
SCENE46 - EXT. BACKOF MUSEUM

- DAY MLS - HIGH ANGLE- LOOKINGSTRAIGHT
DOWNAT THE LOADING DOCK COURTYARD
AS THE FREIGHT TRUCK TURNSR THROUGH
IT.
465-08
SCENE47 - MFS - EOOKINGAT THE
PASSENGER
SIDE OF THE TRUCKAS IT
COMESTO A STOP, R, THEN STARTS
BACKING UP TOWARDTHE LOADING DOCKIN
LBG.
474-02
SCENE48 - INT. BACKOF FREIGHTTRUCKDAY - MS o THE BACKDOORIS OPENEDTO
REVEAL THE FREIGHT TRUCKDRIVER AND
JJ THE SECURITYGUARD,WHOIS LOOKING
AT A CLIPBOARD.
JJ THESECURITY
GUARD
(face off)
Ah, (on) somethingsscrewedup. Mylist
says
39
475.12..
40
48~.4
41
484.4
42
488.4
43
493.12
480.12 5.0
somekind of sarcophagus.
FREIGHT TRUCKDRIVER
Well, what do you want meto do? Its a horse.
483-08
483.6/
2.2

LOADING DOCKDAYo MCS- PASTJ J, LFG, TO THETRUCK
DRIVERAS HE TURNSTO JJ. THEREIS A
LARGE CRATE STRAPPEDINSIDE THE TRUCK
IN BG.
FREIGHT TRUCKDRIVER
Youwant I should take it back and dumpit?
487.10 3.6
THE DRIVER TURNSTO THE TRUCKAGAIN

AND STARTSTO TAKE THE STRAP OFF THE
CRATE AS CAMERARACKS FOCUSTO THE
BACKOF JJS HEAD.
JJ THE SECURITY GUARD
Nah,nah, just unloadthe damnthing.
492.4
496-10
496.8/
TRUCKDRIVER TO JJ THE SECURITY

GUARD)
Well, its a horse.
(it : whatyoure getting)
TRUCKDRIVER TO JJ THE SECURITY

GUARD)
ShouldI take it back?
(take it back: i.e., return the crated
horseto its place of origin)
4.0
JJ THE SECURITY GUARDTO TRUCK

DRIVER)
No, just unloadthe damnthing.
2.12
JJ THE SECURITYGUARDTO TRUCK

DRIVER)
Its goingto be hot today.
JJ TURNSAND LOOKSR.
JJ THE SECURITY
GUARD(contd)
Boy, its gonnabe hot today.
JJ THE SECURITY GUARDTO TRUCK

DRIVER)
Somethingswrong.Mylist says its a
sarcophagus.
(it : whatis beingdelivered)
(sarcophagus: stone coffin)
(lAB- 17)

TITLE
NO.
LIST
SCENE50 - EXT. CROWN

TOWERS
- DAY FS - CAMERATILTS DOWNFROMSOME
SKYSCRAPERS
AND DOLLIES L AROUNDA
CORNERTO REVEAL THE SIDEWALKIN
FRONT OF THE CROWNBUILDING AS CROWN
GETSOUTOF A TAXI IN BG. PEOPLEIN
SUITS ARE RUSHINGACROSSTHE SIDEWALK
IN FG.
PEOPLE OUTSIDE CROWNTOWERS
(low andindistinct chatter)
CROWN
STRIDES L TO THE BUILDINGS MAIN
REVOLVING DOORAS CAMERAPANS WITH
HIM PAST A SIGN ON A COLUMN
IN FG:
44
510.0
512.12 2.12
NARRATIVE
TITLE) (of sign)
CROWN
Acquisitions
(note that Crownis entering the tall
office building he ownsand which
houseshis company
offices - this sign
hangson the building - Sam,the guard
at the desk, greets him)
517.8
519.12
SAM TO CROWN)
Goodmorning, Mr. Crown.
(Crownheadsfor his executive
elevator, which is blockedby a New
York City Cop and a CrownSecurity
Officer, whoare chatting - Crownsteps
up to the City Cop,clearly expecting
him to move)
CROWN
Acquisitions
CROWNSTARTS TO EXIT THROUGHTHE
REVOLVINGDOOR.
516-09
SCENE51 - INT. CROWN
TOWERS/LOBBY
DAY - MS - CAMERAFOLLOWSCROWNS
BACK, L, AS HE WALKSPAST A MIRRORED
WALL, R, IN WHICHHIS REFLECTIONCANBE
SEEN WALKINGPAST THE FRONTDESK.
PEOPLEIN LOBBY
following scenesanddialogue)
SAM(off)
Goodmorning, Mister Crown.
CROWN
(overlapping)
Goodmorning, Sam.
NEWYORKCITY COP(off) (overlapping)
(very low) Everybodyoutside wants to know
45
2.4
whats going on. But you cant makeany noise.

CROWNREACHESTHE END OF THE
MIRROREDWALL AND WALKS R AROUNDA
CORNERAS CAMERAFOLLOWSHIM TO
REVEAL A CROWNSECURITY OFFICER
CHATTINGWITH A NEWYORKCITY COP.
NEWYORKCITY COP(contd)
Youcant let em knowwhats goin on. You
know what I mean?
(lAB - 18)
"THE THOMASCROWNAFFAIR~ R/lAB PI19

TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOTrlNG
LIST
CROWN
SECURITYOFFICER(overlapping)
Uh-huh.
CROWN
(overlapping)
(clears throat)
CROWNSTOPS AS CAMERAPANS R, OFF
HIM, TO HOLDON THE SECURITYOFFICER
AND THE COP. THEY BOTHSTOP TALKING
AND TURNTO O.S. CROWN.
46
NEWYORK CITY COP

And I-- (to Crown)What, do you own the
525o10 527.12 2.2
NEWYORK CITY COP TO CROWN)

What, you own the building?
(note that the Copis speaking
sarcastically, not realizing Crowndoes
ownthe building)
(the Security Officer sees Crownand
reacts obsequiously)
47
528.2
530.2
2.0
CROWNSECURITY OFFICER TO
CROWN)
Excuseus, sir.
(the Security Officer movesthe Cop
out of the way)
48
531.6
535.6/
4.0
NEWYORK CITY COP TO CROWN

SECURITY OFFICER, THEN CROWN
SECURITYOFFICER TO NEWYORKCITY
COP)
-Whats going on?
-He does ownthe building.
(Crownenters his elevator and rides
up to the top floor, wherehis offices
are located)
building or something?
CROWNSECURITY OFFICER
Uh, excuseus, sir.
THE SECURITY OFFICER MEEKLYTAKES THE
COP BY THE ARMAND.LEADSHIM L OUT OF
FRAME.
CROWN
(off)
Mmohm.
CROWNREENTERSL AND WALKS RBG TO AN
ELEVATOR. HE RUNS A MAGNETIC CARD
THROUGHA SLOT.
NEWYORKCITY COP(off)
Whatthe hell? Whats goin on?
CROWN
SECURITYOFFICER(off)
He does ownthe b-...
535-08
SCENE52 - ECS - LOOKINGUP AT CROWNS
MOUTHAS HE TURNSR TO THE O.S.
ELEVATOR,WAITING FORIT TO OPEN.
CROWN
SECURITYOFFICER(off)
...-uilding.
THE BELL IS HEARDAS THE O.S. ELEVATOR
ARRIVES, THENCROWN
STARTSTO EXIT R.
541-07
(lAB - 19)
"THE THOMASCROWNAFFAIR" R/lAB PI~0

COMBINED
TITLE
NO.
MASTER
LIST

OFFICESo DAYMFS - CROWNWALKS LFG THROUGHTHE
BUSY RECEPTIONAREA OF HIS OFFICE,
CAMERADOLLYING BACK WITH HIM. THE
EMPLOYEES
ALL GREETHIM WITH A SMILE
AS HE PASSES.
PEOPLEIN CROWNSOFFICE
following sceneand dialogue)
CROWNEMPLOYEE#1
CROWN
Goodmorning, goodmorning, one and all.
49
542.4
543.12
1.8
CROWNEMPLOYEE#1 TO CROWN)
Goodmorning, sir.
50
544.2
547.10
3.8
CROWNTO CROWNEMPLOYEE#1,
THEN TO OTHEREMPLOYEES)
Morning. Goodmorning, one and all.
(oneandall : i.e., to everyone)
(Crown passes a male employee)
51
549.4
551.12 2.8
CROWNTO CROWNEMPLOYEE#3)
John, welcomeback.
52
/552.12
557.14 5.2
CROWNTO CROWNEMPLOYEE#4,
THEN TO JIMMY, THENTO HIS
SECRETARY)
Morning. Give me good numbers, Jimmy.
Hello, Daria.
(good numbers: presumably referring
to somecalculations or financial
predictions whichJimmyis doing for
Crown)
(Crownwalks past his Secretary,
Daria, as he headsfor his office)
53
558.4
562.4 " 4.0
SECRETARYTO CROWN)
Youforgot your briefcase, right?
(note that Crownno longer has his
briefcase)
CROWN
EMPLOYEE
#2 (overlapping)
CROWN
EMPLOYEE
#3 (off)
CROWNSHAKES THE HAND OF A MAN WHO
ENTERSL AND CONTINUESWALKINGLFG
PASTHIM.
CROWN
John, welcomeback.
CROWN
EMPLOYEE
#4 (off)
552-10
SCENE54 - MFS - CAMERAFOLLOWSCROWN
AS HE WALKS TOWARDTHE CLOSED DOOR
OF HIS PRIVATE OFFICE. HE PASSESMORE
EMPLOYEES.
CROWN
Goodmorning. Give me good numbers, Jimmy.
CROWNWALKS PAST HIS SECRETARYWHO
IS SEATEDAT HERDESK RIGHT OUTSIDEHIS
OFFICE.
CROWN
(contd)
(to his Secretary) Goodmorning,Daria.
CROWNS SECRETARY
Goodmorning, Mister Crown. You forgot your
briefcase, ~ight?
(lAB - 20)
"THE THOMASCROWNAFFAIR" R/IAB P121

TITLE
NO.
MASTER
ENGLISHSUBTITLF.JSPOI"IINGLIST
CAMERAHOLDS AS CROWNREACHESHIS
DOORAND OPENSIT.
CROWN
No,I mustveleft it herelast night.
CROWN
STARTSTO EXIT INTO HIS OFFICE.
565-08
54
562.12
565.6/
2.10
CROWNTO SECRETARY)
No, I musthaveleft it here.
(left it here: i.e., left mybriefcaseat
the office last night)
SCENE66 - INT. CROWNS

PRIVATEOFFICEDAY - FS - CROWN
WALKSL ACROSSHIS
OFFICE, WHICH HAS A SPECTACULAR
VIEW
OF THE CITY, AS CAMERA
PANSWITH HIM.
HE TAKES A MINI TAPE RECORDER
OUT OF
HIS POCKETANDPLACESIT ON HIS DESK,
THEN CONTINUESWALKINGL TO ONE OF
THE OFFICES MANYWINDOWS.HE STOPS
TO LOOKOUT AT THE CITY AS CAMERA
CRANESUP AND DOLLIES INPAST HIM TO
HOLDON A VIEW OF THE BROOKLYNBRIDGE
AND EAST RIVER BELOW.CROWNSFACE IS
REFLECTEDIN THE GLASS, CENTERFRAME.
594-03
SCENE66 - INT. MUSEUM
LOADINGDOCKDAY - MS - THE CRATEFROMTHE FREIGHT
TRUCK IS TRANSPORTED
THROUGHADOORWAYAS CAMERA CRANES DOWN
FROMTHE. CEILING.
599-11
SCENE67 - MFS- HIGH ANGLE- LOOKING
DOWNAT A SENIOR MUSEUMGUARD
STANDINGBY THE WALL AS HE WATCHES
THE O.S. CRATE ARRIVE. CAMERADOLLIES
R WITH THE CRATES SHADOW
AS IT MOVES
ALONG THE WALL TOWARDTHE GUARD.
603-00
SCENE58 - MS - THE SENIORGUARD
WATCHESAS THE FORKLIFT CARRYINGTHE
CRATECROSSESR IN FG, OBSCURING
HIM
FROMVIEW.
607-04
(lAB - 21)

COMBINED
SCENE69 - ECS - AN ENTRYON THE
FREIGHT DELIVERY CLIPBOARDREADS:
TITLE
NO.
MASTER
LIST
55
/607.8 610.8
3.0
56
611.8
r613.12 2.4
NARRATIVE
TITLE) (of next notation)
DESCRIPTION
ETRUSCAN SARCOPHAGUS
(ETRUSCAN
: relating to ancient
Etruria, whichwasin central Italy)
(SARCOPHAGUS
: see Title #39)
SCENE60 - MCS- PASTJJS TORSO,TIPPED 57

IN LFG, TO THE SENIOR GUARD,WHOLOOKS
AT THE TWOCLIPBOARDS.
614.4
616.6/
NARRATIVE
TITLE) (of 1st notation)
1st Century Greco Asian Horse
DESCRIPTION
First Century GrecoAsian Horse
CAMERASWISH PANS L TO THE SENIOR
GUARDSCLIPBOARD, WHICHREADS:
DESCRIPTION
ETRUSCAN SARCOPHAGUS
3RD CENT. BRONZESTATUE
CAMERASWISH PANS R TO THE ENTRY ON
THE DELIVERY CLIPBOARDAGAIN.
SENIOR MUSEUM
GUARD(off)
Wehave...
616-08
SENIOR MUSEUMGUARD
...a disparity here.
2.2
2.4
NARRATIVE
TITLE) (of notation)
DESCRIPTION
1st Century Greco Asian Horse
(Greco : Greek)
(note that a Senior Museum
Guardis
checkingthe list of expecteddeliveries
against actual deliveries in the
basementof the museum
- this
description is for whatwasdelivered)
58
/616.12 619.0/
59
619.12 622.2
60
/624.8
627.4
2.12
SENIOR MUSEUMGUARDTO
JJ THE SECURITYGUARD)
Wecant leave it here.
(leave it here: i.e., leave the crate
here in the loading area)
61
628.10
632.10
4.0
Lets find out whatthe problemis.
(JJ goesto a forklift, thenhe, the
Forklift Operator andthe Senior Guard
bring out the hugecrate which was
delivered that day and openit,
revealing a gigantic stone statue of a
horse)
619-01
Wehave a disparity here.
SCENE61 - MCSo PAST THE SENIOR

GUARDSSHOULDER,TIPPED IN RFG, TO JJ
STANDINGIN FRONTOF HIM.
Yeah,I sawthat.
2.6
JJ THE SECURITY GUARDTO

SENIOR MUSEUMGUARD)
I sawthat.
SENIOR MUSEUMGUARD
Well...
624-04
SCENE62 - MCS- PAST JJS TORSOTO THE
SENIOR GUARDAS HE WALKSL TO A
CONTROLBOX ON THE WALL, CAMERA
PANNINGWITH HIM.
SENIOR MUSEUMGUARD
...we cant leave it here.
THE SENIOR GUARDOPENSTHE BOX TO
REVEAL SEVERALKEYED SWITCHES.
SENIOR MUSEUM
GUARD(contd)
Lets find out whatthe problemis.
THE SENIORGUARDPUTSHIS KEY IN A
SLOT TO OPENAN O.S. DOOR.
639-06
(lAB o 22)
"THE THOMAS
CROWN
AFFAIR"
R/lAB P123
COMBINED
CONTINUITy, & DIALOGUE
TITLE
NO,
LIST

STORAGEAREADAY - FS - A LARGEDOORSTARTSTO SLIDE
OPEN, REVEALINGTHE FORKLIFT WITH THE
CRATEWAITING OUTSIDE.
644-04
LOADINGDOCKDAY - MFS - THE FORKLIFT STARTSMOVING
THE CRATE BG THROUGHTHE DOORWAY
INTO THE STORAGEAREA AS THE DOOR
SLIDES OPEN COMPLETELY.
651-06
SCENE66 - MS - LOOKINGOVERTHE TOP OF
THE CRATETO A SIGN ON THE OPEN DOOR:
EAST
VAULT
WEST
VAULT
THE CRATE TURNS L AROUNDA CORNER,

CAMERA
MOVINGWITH IT, OFF THE SIGN, TO
REVEALTHE SENIOR GUARDLEADING IT
INTO THE MAIN HALL OF THE STORAGE
AREA.
660-04
SCENE66 - FS - LOOKINGACROSSTHE
STORAGEAREA TO THE SENIOR GUARDAS
HE LEADS THE FORKLIFT AND CRATERFG
DOWNTHE HALL. CAMERADOLLIES R,
HOLDINGAS THE SENIOR GUARDSTOPSIN
ONE OF THE STORAGEROOMS, AND THE
FORKLIFT STOPSBESIDE HIM.
675-12
SCENE67 - MS o CAMERAPULLS BACK FROM
THE FRONTOF THE CRATETO REVEALJ J,
LFG, AND THE FORKLIFT OPERATOR,RFG,
AS THEY LOWERTHE CRATE FROMTHE
FORKLIFT.
681-09
SCENE88 - MS - HIGH ANGLE- LOOKING
DOWNAT JJ AS HE CUTS ONE OF THE
CRATES METAL STRAPSWITH WIRE
CUTTERS.
684-05
SCENE69 - MCS- HIGH ANGLE- LOOKING
STRAIGHT DOWNAT THE WIRE CUTTERSAS
THEY CUT ANOTHERMETAL STRAP.
686-02
(lAB - 23)
R/lAB P124
COMBINED
CONTINUII~f & DIALOGUE
TITLE
NO.
MASTER
LIST
SCENE70 - MCS- PAST THE FORKLIFT

OPERATOR,
TIPPED IN RFG, TO JJ AS THEY
BOTH START TO REMOVETHE FRONTOF
THE CRATE.
688-04
DOWNOVER THE TOP OF THE CRATE TO JJ
AND THE FORKLIFT OPERATORAS THEY
COMPLETELYREMOVETHE FRONT OF THE
CRATE.
690-07
STORAGEAREAMOMENTS
LATER - FS - LOOKINGOVERTHE
TOP OF A STATUEINSIDE THE OPENCRATE
TO THE SENIOR GUARDAND JJ STANDING
BACKTO LOOKAT IT AS THE FORKLIFT
OPERATORWALKSOVER TO JOIN THEM.
694-15
SCENE73 - MFS - LOOKINGBETWEEN
THE
TORSOSOF JJ AND THE SENIOR GUARDTO
THE STATUEINSIDE THE OPENCRATE. IT IS
A HUGEHEADLESSHORSE.
SENIORMUSEUM
GUARD(face off)
Thatis not a sar-...
62
696.4
701.0
(over sceneend)
4.12
That is not a sarcophagus.
(That : That statue)
63
706.4
708.10
2.6
Its Friday.
(shaking his head, the Senior Guard
walksoff - the Forklift Operatorjoins
J J)
64
709.0
711.0
2.0
FORKLIFT OPERATORTO
What did he mean?
65
/711.8
715.2/
3.10
699-06
SCENE74 - MCS- PASTJJS BACK,LFG, TO
THE SENIORGUARDLOOKINGL AT THE O.S.
STATUEAND SHAKINGHIS HEAD.
SENIOR MUSEUMGUARD
...-cophagus. Tch. Its Friday.
THE SENIOR GUARDTURNSAND PACES BG,
CAMERATILTING DOWNWITH HIM.
FORKLIFT.OPERATOR
(off)
Whatdid he meanby that?
JJ THESECURITY
GUARD(face off)
Id say...
711-07
SCENE76 - MCS- JJ ANDTHE FORKLIFT
OPERATOR
LOOKRFG AT THE O.S. SENIOR
GUARDAS HE WALKS AWAY.
...come Monday,theres gonnabe hell to pay.
716-03
JJ THE SECURITYGUARDTO
FORKLIFT OPERATOR)
Monday,theres going to be hell to pay.
(Monday:i.e., On Monday)
(theres...pay : colloquial for,
someone
is going to suffer greatly for
this mistake)
(lAB- 24)
R/lAB PI25
TITLE
NO.
MASTER
LIST

CONFERENCE
ROOM- DAY - FS - CROWN
IS SEATEDR AT
THE CONFERENCE
TABLE, REVIEWINGA
CONTRACT,AS A RIVAL BUSINESSMAN
(A
REAL ESTATE TYCOON)AND HIS TWO
BULLDOGLAWYERSWAIT TENSELY ON THE
OTHERSIDE OF THE TABLE. CROWN
EXECUTIVES
#1. & #2 ARE ON EITHERSIDE
OF CROWN.
719-11
SCENE77 - MS - BULLDOG
#1 STARTSTO
UNWRAPA CIGAR AS HE STARESRFG
ACROSSTHE TABLE AT O.S. CROWN.THE
BUSINESSMAN
IS SEATEDR BESIDE HIM.
724-02
SCENE78 - MS - CROWN
PUTS THE
CONTRACTDOWNON THE TABLE AND
STUDIES IT SOMEMORE. HIS EXECUTIVES
ARETIPPEDIN L ANDR.
728-04
#1 PUTSTHE
UNWRAPPED
CIGAR IN HIS MOUTHAND
TAKES OUT A MATCHAS HE STARESRFG AT
O.S. CROWN.THE BUSINESSMAN
IS SEATED
R.
731-08
TAKES A PEN OUT
OF HIS POCKETAND HOLDSIT DOWN
BESIDE THE CONTRACTAS CAMERATILTS
DOWNWITH IT, OFF HIS FACE. HE TOYS
WITHTHE PEN, STILL NOTSIGNING.
740-t4
SCENE81 - MCS- BULLDOG
#1 STARESRF.G
AT O.S. CROWN,KEEPINGTHE UNLIT CIGAR
CLENCHEDIN HIS MOUTH. THE
BUSINESSMAN
IS TIPPED IN RBG.
743-06
SCENE82 o MCS- CROWNSHANDTAKES
THE UNCAPPEDPEN AND MOVESIT TOWARD
THE BOTTOMOF THE CONTRACT.
748-07
(lAB - 25)

TITLE
NO.
MASTER
SCENE83 - MCS- BULLDOG

#1, STARING
RFG AT O.S. CROWN,PREPARESTO STRIKE
HIS MATCH.THE BUSINESSMAN
IS .TIPPED
IN RBG.
748- 15
SCENE84 - MCS- CROWNSHANDRISES AS
IF TO SIGN THE CONTRACT,THEN PULLS
BACK TEASINGLY FOR A MOMENT.FINALLY,
CROWNSIGNS.
756-01
SCENE85 - MCS- BULLDOG#1 STRIKES THE
MATCHAND LIGHTS HIS CIGAR AS THE
BUSINESSMANCHEERSiN RBG.
BUSINESSMAN
(exhales) (chuckling) Damn!
BULLDOG
#2 (off) (overlapping)
Deuce!
66
757.10
759.10/
2.0
67
762.14 767.6
4.8
(over scene end)
759-11
SCENE86 - MCS- CAMERA
TILTS UP FROM
CROWNSHAND SIGNING THE CONTRACTTO
HIS FACEAS HE GLANCESOVERAT THE O.S.
BULLDOGSAND BUSINESSMAN.
BULLDOGS
(off)
(chuckle - continues underfollowing scenes.and
BULLDOG
#2) (exclaiming)
Deuce!
(somewhatantiquated colloquial
emphaticinterjection)
(note that Crownis seatedin his
conference room with CrownExecutive
#2 and a Businessman,who is
accompaniedby his two Bulldog
lawyers - Crownhas finished reviewing
a contract and nowsigns it as the
Businessmanand the Bulldogs react
elatedly)
dialogue)
BULLDOG
#1 (off)
Timesin...
763-09
BULLDOG#1 TO GROUP)
There weretimes I never thought Id see
that.
(that : the sight of Crownsigning the
contract)
SCENE87 o MS - BULLDOG
#1 FINISHES
LIGHTINGHIS CIGAR, L, AS THE
BUSINESSMAN
LAUGHSJOYOUSLYIN RBG.
BULLDOG#1
...this thing I neverthoughtId seethat.
BULLDOG#1 TOSSES THE MATCHBOXR
DOWNTHE TABLE, CAMERAPANNING WITH
IT, PAST THE BUSINESSMAN,TO REVEAL
BULLDOG
#2 CATCHINGIT.
767-13
(lAB - 26)
R/lAB PI27
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOIrlNGLIST
FINISHES SIGNING
THECONTRACT
,~ND SLIDESIT ASIDE, R, AS
EXECUTIVE#2, L, GIVES HIM MORECOPIES
OF THE CONTRACT
TO SIGN.
BULLDOG
#2 (off)
ThomasCrownforced to sell something!
BUSINESSMAN
(off)
So, what do you think, Crown?Youdont have
68
/767.14
771.14 4.0
69
772.4
777.12
(over sceneend)
5.8
BUSINESSMANTO CROWN)
Any regrets about howyou played this,
Crown?
(playedthis : i.e., acted in this
businesstransaction [with regard to
the type of decisions made])
70
778.2 782.14
(over sceneend)
4.12
CROWNTO BUSINESSMAN)
Regretis usually a wasteof time.
71
783.14 786.10
72
788.6
795.6
(over scene end)
775-01
BULLDOG#2 TO GROUP)
ThomasCrownforced to sell something!
#1 LEANSBACKIN
HIS SEAT, HAPPILYSMOKINGHIS CIGAR, AS
THE BUSINESSMANLEANS RFG ACROSSTHE
TABLE TOWARDO.S. CROWN.
BUSINESSMAN
..-y regrets aboutthe wayyou playedthis, do
you?
CROWN
(off)
Regret... (sighs)
780-01
SCENE90 - MCS - CROWN
CONTINUES
SIGNING THE O.S. CONTRACTS
WITHOUT
LOOKINGUP.
CROWN
...is usually a wasteof time.
CROWNGLANCESUP AND GRINS AT THE
O.S. BUSINESSMAN.
BULLDOG
#2 (off)
(chuckle)
CROWN
As is gloating. Haveyou figured out what youre
2.12
As is gloating.
gonnasay to your Boardwhenthey learn that

you paid methirty million morethan others
were...
CROWN
FINISHES SIGNING ALL THE O.S.
CONTRACTSAND STARTS TO GET UP.
793-14
7.0
Your board knowyou paid me$30 million
morethan others were offering?
(board : group of persons having
managerial and supervisory powers,
over a corporation)
(the Businessmansexpression sours)
(lAB - 27)

TITLE
NO.
MASTER
LIST
SCENE91 - MCS- THE BUSINESSMAN

STARESRFG AT O.S. CROWN,THE SMILE
FADING FROMHIS FACE, AS BULLDOG#2
STOPSIN THE MIDDLEOF LIGHTING A CIGAR
IN RBG.
72A
CROWN
(oft~
...offering? Goodmorning, gentlemen.
797-06
SCENE92 - MCS- CROWN,NOWSTANDING,
TUCKSHIS PEN IN HIS POCKETANDEXITS R,
FOLLOWED
BY EXECUTIVE #2, AS CAMERA
PANS R TO REVEALEXECUTIVE#1 GRINNING
AT THE O.S. BUSINESSMAN.
805-06
796.0 798.4
(over sceneend)
2.4
CROWNTO BUSINESSMEN)
Goodmorning, gentlemen.
(note that Crownis bidding the
businessmenfarewell in a smug,
triumphant manner)
(meanwhile,in the basementof the
Met, the stone horse cracks openfrom
the bottom and four men[P~tru, Janos,
Dimetri andIggy] drop out)

STORAGE
AREAo
DAY - MFS- CAMERA
DOLLIES IN ON THE
HORSESTATUE, WHICHIS STILL CONTAINED
IN THE OPENCRATE..SAWINGIS HEARD
FROMINSIDE THE STATUE. CAMERATILTS
DOWNTO THE FLOOR BENEATH THE
STATUE, REVEALINGA TINY PILE OF DUST
FORMING.
830-11
SCENE94 - CS - DUST TRICKLESDOWN
FROMTHE O.S. STATUE. CAMERATILTS UP
TO REVEALTHE TIP OF A SAWBLADE
CUTTING THROUGHTHE BOTTOMOF THE:
HORSESBELLY FROMINSIDE~
836-14
SCENE95 - MCS THE TWOFLAPS THAT
HAVE BEEN SAWEDIN THE HORSES BELLY
START PUSHINGOPEN.
843-1t
SCENE96 - MCS- THE SAWEDFLAPS OPEN
COMPLETELY,THEN THE HEAD OF AN
EASTERN EUROPEANTHIEF NAMEDJANOS
POKESOUT FROMINSIDE THE HORSE. HE IS
WEARINGA FLASHLIGHT ON HIS HEAD AND
IS BREATHINGTHROUGHA RESPIRATOR. HE
LOOKS AROUNDTO MAKE SURE THE AREA
IS DESERTED, THEN HE DROPSDOWN
COMPLETELYFROM THE HORSE, LANDING
ON THE FLOOR, AS CAMERATILTS DOWN
WITHHIM.
JANOS
(grunts - continues under following scenes)
872-00
(lAB - 28)
"THE -THOMASCROWNAFFAIR" R/IAB P129

TITLE
NO.
MASTER
LIST
SCENE97 - MCS- ANOTHERTHIEF NAMED

DIMETRI CLIMBS DOWNFROMTHE HORSES
BELLY AS CAMERAPULLS BACK SLOWLY.
JANOSS LEGS CAN BE SEEN SCRAMBLING
OUT OF FRAMEIN LFG.
879-14
SCENE98 - MFS - LOOKINGDOWNOVERTHE
TOP OF THE HORSESTATUE TO JANOS AND
DIMETRI AS THEY STEP BACK AWAYFROMIT
AND STRETCH. A THIRD THIEF NAMED
PETRU CLIMBS OUT AFTER THEM. THEY ARE
ALL WEARINGBACKPACKS.
JANOS, DIMETRI & PETRU
(overlapping grunts)
892-13
SCENE99 - CS - PETRUS HANDPULLS BACK
HIS SLEEVETO REVEALA WATCHON HIS
WRIST. HE SETS IT.
73
PETRU
(face off)
All righ-...
897.12 901.0
3.4
(over sceneend)
898-03
DOLLIES IN ON
PETRU AS HE GIVES ORDERSTO THE OTHER
THIEVES, WHOARE STANDINGBEHIND HIM.
PETRU TO GROUP)
Okay. English only from nowon.
(English only : Wespeak only
English)
LABORATORY:
IN TERRITORIES USING PRINTS WITH A
TEXTLESS BACKGROUND,
THE FOLLOWINGTWOTITLES,
PETRU
.o.-t, Englishonly ~omnowon.
#74 & #75, ARE TO APPEARIN NORMAL

SUBTITLE
POSITION. IN TERRITORIESUSING PRINTS WHICHRETAIN
PETRUEXITS LFG TO FULLY REVEAL

DIMETRI GETTINGREADYBEHIND HIM AS
JANOS CROSSESL AFTER PETRU. CAMERA
DOLLIESIN ON DIMETRI.
THE ORIGINAL TEXTEDBACKGROUND,

TITLES #74 & #75
DIMETRI
(in Eastern Europeanlanguage)
FRAME.
SUBTITLEPOPSIN:
ARE TO APPEARIN THE UPPERONE-THIRDOF THE
74
901.7
904.14
3.7
DIMETRI TO GROUP)
Exceptfor Janni.
(Janni : nicknamefor, Janos)
75
905.6
909.121 4.6
DIMETRI TO GROUP)
Janni doesnt speakEnglish.
Exceptfor Janni.
SUBTITLE POPSOUT.
CAMERA
TILTS DOWN,OFF DIMETRIS FACE,
TO REVEALA FOURTHTHIEF NAMEDIGGY,
CROUCHED
UNDERTHE HORSES BELLY.
SUBTITLEPOPSIN:
Janni doesnt speak English.
SUBTITLE POPSOUT.
(lAB - 29)

COMBINED
TITLE
NO.
MASTER
LIST
CAMERADOLLIES IN ON IGGY AS HE STARES
AFTERDIMETRI, WHOEXITS LFG.
DIMETRI
(off)
(chuckles)
IGGY
(sniffs)
909-12
SCENE101 - INT. ANOTHERCOMPANY
BOARDROOM
- DAY- ECS - LOOKING DOWN
AT CROWNSWRISTWATCHWHICH SHOWS
THETIMEIS 11:30.
COMPANY
LAWYER(off)
Gentlemen,upon, uh, closer inspection, your
76
/910.0 917.0/
(over scene end)
7.0
COMPANYLAWYERTO CROWNGROUP)
Gentlemen,your proposal is not as
generousas you led us to believe.
(now, Crownand several of his
Executives are meetingwith an Old
Man[the headof his company],his
Son, and the CompanyLawyer)
77
/917.6 921.10
(over scene end)
4.4
COMPANYLAWYER TO CROWNGROUP)
It doesnot mentionexecutive
compensation-(It : The proposal)
(executives compensation: financial
compensationto the executives of a
corporation whenit is purchased)
prop-...
CROWNPUSHESHIS SLEEVE BACK OVER
HIS WATCH.
913-04
SCENE102 - MCS- CROWN,STANDINGAT A
WINDOW,LOOKSUP FROMHIS O.S. WATCH
AND STARESL OUT AT THE VIEW.
COMPANY
LAWYER(off)
...-osal is not as generousas-youled us to
believe.
CROWN
GLANCESLFG AT HIS O.S. LAWYER.
917-02
SCENE103 - MS - CROWNSLAWYER,
ANDREWWALLACE,IS SEATEDR AT THE
CONFERENCE
TABLE, GLANCINGRFG AT
O.S. CROWN.CROWN
EXECUTIVE#2 IS
SEATEDFG BESIDE WALLACE, AND AN OLD
MAN, THE COMPANY
PATRIARCH, IS SEATED
AT THE HEADOF THE TABLE IN LBG.
COMPANY
LAVVYER(off)
Thereis no mentionof executive...
919-13
(lAB - 30)
"THE THOMASCROWNAFFAIR" W1AB PI31

TITLE
NO.
LIST
SCENE104 - MCS- CROWN,BORED, TURNS

TO LOOKL OUT THE WINDOWAGAIN.
COMPANY
LAWYER(off)
...compensation. Numbertwo, (fades downlow)
nothing whatsoev-...
CROWN
EXECUTIVE
#1 (off)
Look, gentlemen,we...
(overlapping)
78
922.0 926.4
(over sceneend)
4.4
CROWNEXECUTIVE #1 TO GROUP)
Weunderstandyour objection to the
merger.
79
926.10 928.2
1.8
SON TO CROWNEXECUTIVE#1)
Its not a merger!
80
928.8 931.8
(over sceneend)
3.0
CROWNEXECUTIVE #2 TO COMPANY
GROUP)
Your stockholders have spoken.
(implying thdt the company
stockholders voted to approve Crowns
mergerwith or takeover of the
company)
81
931.14 937.2
(over sceneend)
5.4
WALLACETO COMPANYGROUP, THEN

SON TO WALLACE)
-Weanticipated this.
-Wewont be a Crownsubsidiary.
(this : your refusal to accept our
proposal)
(subsidiary : companywholly
controlled by another)
923-07
SCENE105 - MFS - LOOKINGDOWNTHE
TABLE AT ALL THE PARTICIPANTSIN THE
DEAL NEGOTIATION. WALLACEIS SEATEDR
ON ONE SIDE OF THE TABLE WITH CROWN
EXECUTIVES#1 AND#2; THE OLD MANIS
SEATEDAT THE HEAD OF THE TABLE; AND
THE OLD MANS SON AND THEIR COMPANY
LAWYERARE SEATEDL ON THE OTHERSIDE
OF THE TABLE.
COMPANY LAWYER
...-er aboutwhenyoure going to let-CROWN
EXECUTIVE#1 (overlapping)
...understand your objection to the merger. We-SON(overlapping)
Its not a merger!
CROWN
Im afraid your sto-...
929-02
SCENE106 o MS o LOOKINGBETWEEN
THE
OLD MAN AND HIS SON TO WALLACEAND
CROWNEXECUTIVE #2 ON THE OTHERSIDE
OF THE TABLE. THE COMPANY
LAWYERIS
TIPPED IN R BESIDE THE SON. CROWN
IS
STANDINGAT THE WINDOWIN BG, BARELY
PAYINGATTENTION.
CROWNEXECUTIVE #2
...-ckholders have spoken.
COMPANY
LAWYER
(overlapping)
Wehave reason to believe the stock price was
manipulated.
WALLACE
(overlapping)
Gentlemen,
frankly, weveanti-...
934-01
(lAB - 31)
R/IAB P132-
TITLE
NO.
MASTER
LIST

LOOKSL OUT
THE WINDOW,THEN GLANCESLFG AT THE
O.S. MEETINGAS CAMERA
DOLLIES IN ON
HIM.
WALLACE
(off)
.,.-cipated your reluctance.
SON(off) (overlapping)
Wewont be a Crownsubsidiary.
WALLACE
(off) (overlapping)
Our attorneys are preparedto go head-to-head
82
937.8
942.10 5.2
WALL~,CE TO COMPANYGROUP)
Our attorneys will go head-to-headwith you
at the SEC.
(go head-to-headwith you : i.e.,
engagein a direct confrontationwith
you)
(SEC: abbreviation for, Securities
and ExchangeCommission, a
regulatory commissionthat monitors
the NewYork Stock Exchanges
operations)
83
/944.6
951.14
7.8
CROWN
EXECUTIVE #2 TO WALLACE)
I thoughtthat kid wouldbust a gut when
you brought up the SEC.
(that kid : referring to the Son)
(bust a gut : slang for, explode with
anger)
(brought up : i.e., mentioned)
(note that Crownand his people are
nowgoing downin the elevator - the
CrownExecutives are all laughing and
exuberant)
84
952.4
956.6
4.2
CROWNEXECUTIVE #1 TO GROUP)
Howsit go? "Sad to see another tired
man--"
(Howsit go : i.e., Whatis the
quotation)
85
956.12
964.4
7.8
CROWNTO CROWNEXECUTIVE #1)

"Sadto see another tired manlay downhis
handand quit the holy gameofpoker."
(hand : cards dealt to one player
during a roundof poker)
with you at the S.E.C.

944-03
SCENE108 o INT. ELEVATOR
- DAY- MCSPAST WALLACE, LFG, TO CROWNEXECUTIVE
#2 AS THEYLAUGHHEARTILY.
MENIN .ELEVATOR
(on/off)
(chuckle - continuesunder following dialogue)
CROWNEXECUTIVE #2
(laughing) I thought that kid wasgonnabust
gut whenyou wentinto that thing about the
S.E.C. That wasbrilliant!
CROWN
EXECUTIVE
#1 (off)
Howsit go?
(overlapping)
CAMERAPANS L TO REVEAL CROWN

EXECUTIVE#1 STANDINGBESIDE EXECUTIVE
#2.
CROWN
EXECUTIVE#1 (contd)
"Sad to see another tired manlay downhis hand
a-CAMERA
PANS L, OFF EXECUTIVE#2, TO
REVEAL CROWNSTANDING BESIDE
EXECUTIVE#1.
CROWN
(off) (overlapping)
"Sadto (face off) see anothertired (on) man
downhis handand quit the holy gameof poker."
Thats the line, Danny.
CROWN
EXECUTIVE
#1 (overlapping)
Yeah.
(lAB - 32)
"THE THOMASCROWN
AFFAIR"
R/lAB PI33
~ TITLE
NO.
MASTER
LIST
CROWNTAKES A STEP CLOSERTO WALLACE
AND SPEAKSTO HIM.
86
CROWN
Hes right, you know. Third generation company,
964.12
967.0
2.4
CROWNTO GROUP)
Hes right, you know.
(He : Crown Executive#I)
967.6
973.0
5.10
CROWNTO GROUP)
Third generation companyshould have
shownmoregrit.
(Third generation company: company
ownedby three successive generations
from onefamily - here, a father, son
and grandson)
(grit : courageanddetermination i.e., resistanceto our takeover)
youd think they wouldveshownmoregrit.

THE O.S. Door OPENS, AND CROWN
STARTSTO EXIT LFG, FOLLOWED
BY THE
OTHERS.
974-03
MACHINEROOMDAY - CS - A TORCHSTARTSCUTTING
THROUGHA METAL WALL.
977-14
87
SCENE110 - ECS - CAMERATILTS DOWN

WITH THE TORCHAS IT STARTSTO CUT A
CIRCLEIN THE METAL.
981-15
SCENE111 - CS - CAMERA
TILTS DOWNWITH
THE TORCHIT CUTS THE OTHERSIDE OF
THE CIRCLE.
985-06
SCENE112- CS- THE CIRCLE IS
COMPLETED,AND THE TORCHGOESOUT.
987:12
SCENE113 - MCS- LOOKINGAT THE TOP OF
THE CIRCLE, WHICH STARTSTO BUCKLEAS
IT IS BANGEDFROMTHE OPPOSITESIDE.
989-12
SCENE114 - CS - LOOKINGAT THE BOTTOM
OF THE CIRCLE AS IT IS BANGED
OUT OF
THE WALL.
991-12
SCENE115 - MCSo LOOKINGAT THE TOP OF
THE CIRCLE AS IT DROPSOUT OF FRAMETO
REVEALDIMETRI ON THE OTHERSIDE OF IT.
997-07
(lAB - 33)

TITLE
NO.
MASTER
SCENE116 - FS o HIGH ANGLE- LOOKING

DOWNAT THE DESERTEDMACHINE ROOM
AS DIMETRI COMPLETELYKNOCKSTHE
CIRCLE OUT OF THE WALL IN BG. CAMERA
PANS L ACROSSTHE ROOMTO REVEAL A
CHAIN-LINK FENCEON THE OPPOSITESIDE.
A RED SENSORLASER SWEEPSOVER THE
FENCE.
1008-07
SCENE117 - MCS- THE REDLASER
COMPLETESA SWEEPACROSSTHE FENCE,
THEN CAMERAPANS R TO REVEAL A
SURVEILLANCE CAMERAHANGING FROM
THE CEILING BEHINDTHE FENCE. IT
SLOWLYPANS L OVERTHE ROOM.
1015-00
SCENE118 - MFS- SURVEILLANCECAMERA
POV - LOOKINGTHROUGH
THE CHAIN-LINK
FENCE TO THE MACHINE ROOMAS CAMERA
PANSR OVERIT. AIR CONDITIONING
COMPRESSORS
LINE THE OPPOSITESIDE OF
THE ROOM.
1020-04
SCENE119 MCS- A SMALL MIRROR
SLOWLYPOKESOUT FROMBEHIND A
.CORNER, REVEALINGPETRUS FACE
REFLECTED
IN IT.
1024-05
SCENE120 - MS - MIRRORSPOVo LOOKING
UP AT THE SURVEILLANCECAMERAMAKING
ITS SLOWPAN BEHINDTHE CHAIN-LINK
FENCEAS THE O.S. LASER SENSORSWEEPS
OVERIT. IT FINALLY PANSL AWAYFROM
THE O.S. MIRROR.
1027-03
SCENE121 - MS - PETRUAND THE-OTHER
THIEVES ARE HIDING BEHIND THE CORNER
AS PETRULOOKSIN THE O.S. MIRROR.HE
GIVES JANOSAND IGGY THE SIGNAL TO GO,
AND THEY START TO EXIT RFG AS CAMERA
DOLLIESIN ONHIM.
1030-02
SCENE122 - FS - JANOSANDIGGY QUICKLY
ROLL R ACROSSTHE FLOOR.
1031-11
(lAB - 34)
"THE THOMAS
CROWN
AFFAIR"
R/lAB PI35
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI-rlNG LIST
SCENE123 - MS - JANOSROLLSR ACROSS

THE FLOOR.
1032-12
SCENE124 - MS - JANOSCOMPLETES
HIS
ROLL AND ENDSUP ON THE OTHERSIDE OF
THE ROOMBESIDE IGGY, WHOIS HIDING
BEHIND A POWERBOX. THEY QUICKLY TAKE
OUT SOMEEQUIPMENT,IGGY EXTENDINGA
LONGPOLE AS JANOSPREPARESA STRAP.
A SIGN POSTEDON THE CHAIN-LINK FENCE
BESIDETHEM, L, READS:
HVAC
COMPRESSOR
STATION
1039-04
SCENE125- INT. CROWNSPRIVATE
OFFICE- DAY - MCS- CROWN
IS HAVINGA
FITTING FOR A CUSTOM-MADE
SUIT.
CROWNPUTS ON THE SUIT AS THE TAILOR
STANDSBEHIND HIM AND MAKES
ADJUSTMENTS.CROWNEXECUTIVE #1 IS
PACING BACK AND FORTH BY THE WINDOWS
IN BG, READINGFROMSOMENOTES.
CROWNSSECRETARY
(off)
Dont forget about the Douglastonconference
call in te-...
CROWN
88
The big B.P.T. deal -- McCormickwants to know
/1039.6 1043.14 4.8

(over sceneend)
CROWNEXECUTIVE #1 TO CROWN)
McCormickwants to knowour bid on the
BPTdeal.
(McCormick: nameof &n unspecified
person)
(BPTdeal : presumablyreferring to
the acquisition of an unspecified
company
whoseinitials are BPT)
(in his office, Crown
is beingfitted for
customsuit, while his Executives
review business)
1044.4 1045.14/ 1.10

Speakto Scully.
(Scully : nameof an unspecified
person)
(i.e., Ask Scullywhatthe bid is.)
whatour bid on the...

1043-03
SCENE126 - MFS- HIGH ANGLE- WALLACE
DRIBBLESA BASKETBALLIN THE MIDDLE OF
THE ROOMIN FG AS EXECUTIVE#1 LEANS
AGAINST THE WINDOWSAND READS FROM
HIS NOTESIN BG, ANDEXECUTIVE#2 MAKES
NOTESAT A DESK, L.
CROWNSSECRETARY
(off)
...-n minutes.
CROWN
...(indistinct word)mall will be.
89
CROWN
(off)
Speakto Scully.
1045-14
(lAB - 35)

TITLE
NO.
MASTER
LIST
SCENE127 - MFS - CROWN,STANDINGWITH

HIS TAILOR AT A MIRROR,LOOKSBACKL
OVERHIS SHOULDER.
CROWN
EXECUTIVE#1 (off)
Scully.
90
CROWN
(overlapping)
Misosoup, Daria.
CROWNS
SECRETARY
(off)
Onits way.
(overlapping)
1048-08

MACHINEROOMDAY - MCS- PETRUS MIRRORPOKESOUT
FROMBEHIND THE CORNERAGAIN,
REVEALING
HIS FACEREFLECTED
IN IT.
1052-14
1046.4
1048.8/ 2.4
CROWNTO SECRETARY)
Miso soup, Daria.
(Miso soup : Soup madefrom miso,
high-protein food paste consisting
chiefly of soybeans,salt and fermented
grain - i.e., Get mesomemiso soup)
(meanwhile, in the machineroomof
the Met, Petru and the others have
shot a rope up to the ceiling - Janos
preparesto climb up the rope)
SCENE129 - MS - MIRRORSPOV- THE

SURVEILLANCECAMERAIS MAKING
ANOTHERPAN BEHIND THE CHAIN-LINK
FENCE. IT FINALLY PANS R AWAYFROMTHE
O.S. MIRROR.
1055-15
SCENE130 - MCS- PETRUGIVES A SIGNAL
TO DIMETRI, WHOIS WAITINGBEHINDHIM..
DIMETRISTARTSTO EXIT RFGo.
1057-05
SCENE131 - MS - DIMETRI STEPSLFG PAST
PETRU INTO THE MACHINEROOMAS
CAMERADOLLIES IN AND PANS WITH HIM
INTO MCS.
1061-00
SCENE132 - FS - LOOKINGTHROUGH
A
CHAIN-LINK FENCETO DIMETRI STOPPINGIN
THE MIDDLE OF THE ROOM.
1063-03
DOWNAT DIMETRI AS HE AIMS A RED
HARPOONGUN UP TOWARDTHE O.S.
CEILING,
1063-03
(lAB - 36)
"THE THOMAS
CROWN
AFFAIR" R/lAB PI37
COMBINED
CONTINUIrY & DIALOGUE
~
TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOIFING
LIST
SCENE134- MS - LOWANGLE- LOOKING

STRAIGHTUP PAST DIMETRI TO THE CEILING
AS HE FIRES THE HARPOON
UP AT IT.
1064-00
STRAIGHTDOWNAT DIMETRI AS THE
HARPOON
FLIES UP RFG PAST CAMERA,
DRAGGINGA ROPE.
1064-10
SCENE136 - MCS- LOWANGLE- LOOKING
UP AT THE CEILING AS THE HARPOON
IMPALESIT.
1065-05
SCENE137 - MS - JANOSRUNSLFG OUT
FROMHIS HIDING PLACEBEHIND THE
POWERBOX AS IGGY STAYS BEHIND,
WATCHING,
1066-08
SCENE138 - FS - DIMETRI HOLDSONTOTHE
HARPOONROPE AND TOSSES THE HARPOON
GUNL BACK TO O.S. PETRUAS JANOS
COMESOUT OF HIS HIDING PLACE BEHIND
THE POWERBOX, R.
1068-13
SCENE139 o MCS- IGGY STARTSTODROP
HIS EXTENDERPOLE DOWNLFG TOWARD
O.S. DIMETRI.
1069-12
SCENE140 - FS - DIMETRI CATCHES
THE
POLE AND LAYS IT DOWNFLAT ON THE
FLOORAS JANOSSTOPS BESIDE HIM AND
ATTACHESA STRAP TO THE HARPOON
ROPE. DIMETRI STARTS TO THREADTHE
BOTTOMOF THE ROPE THROUGHAN
EYEHOLEAT THE END OF THE POLE AS IGGY
EMERGESFROMBEHIND THE POWERBOX,
R, TOHELPHIM.
1074-03
SCENE141 - MCS- MIRRORSPOV - LOOKING
UP THROUGHTHE CHAIN-LINK FENCETO
THE SURVEILLANCECAMERAAS IT
COMPLETES
ITS PAN R. IT REVERSESAND
STARTS TO PAN TOWARDTHE O.S. MIRROR
AGAIN.
1077-06
(lAB - 37)

TITLE
NO.
LIST
SCENE142 - MCS- PETRULOOKSUP

TOWARDTHE O.S. SURVEILLANCECAMERA
ANDCRIES OUT TO THE O.S. OTHERS.
PETRU
(whispering)Go, go...
91
1079-12
SCENE143 - MCS- DIMETRIS HAND

FINISHES THREADINGTHE HARPOON
ROPE
THROUGHTHE EYEHOLEAT THE END OF
THE POLEAND STARTSTO MAKEIT TAUT.
1078.6
1079.12/ 1,6
PETRU TO JANOS)
Go!
(at the sametime, in the Impressionist
wing, a Teacheris lecturing to her
class about the sameMonetpainting
Proctor McKinleypointed out to Crown
earlier)
PETRU
(off)
...go!
1081-07
DOWNAT DIMETRIS HANDSAS THEY MAKE
THE ROPETAUT AND LEAD IT R ALONGTHE
FLATTENEDPOLE, CAMERAPANNINGWITH
HIM.
1083-01
SCENE145 - FS - DIMETRIQUICKLYEXITS R
BEHIND THE POWERBOX WITH THE REST OF
THE ROPEAS IGGY CLIMBS UP THE TAUT
ROPETOWARD
THE O.S. CEILING, CAMERA
TILTING UP WITHHIM.
1085-14
SCENE146 : MCS- CAMERA
TILTS UP FROM
THE POLE ON THE FLOORTO IGGY
CROUCHEDBEHIND THE POWERBOX AS HE
PULLS IN ALL THE EXTRAROPE. DIMETRI
(LEGS) IS STANDING
BESIDEHIM.
1088-09
SCENE147 - MCS- PETRUQUICKLY DUCKS
BACK BEHINDHIS CORNER
TO HIDE.
1089-11
SCENE148 - MCS- LOOKINGUP THROUGH
THE CHAIN-LINK FENCETO THE
SURVEILLANCECAMERAAS IT POINTS FG
WHILE IN THE MIDDLEOF ITS PAN L ACROSS
THE ROOM.
109t-12
(lAB - 38)

TITLE
NO.
MASTER
ENGLISHSUBTITLF./SPOTFING
LIST
SCENE149 - MCS- DIMETRI STANDSUP

BEHIND THE POWERBOX AND FLATTENS
HIMSELF BACK AGAINST THE WALL, CAMERA
TILTING UP WITHHIM.
1093-13
SCENE150 - MCS- LOOKINGUP THROUGH
THE CHAIN-LINK FENCETO THE
SURVEILLANCECAMERAAS IT CONTINUES
PANNINGL.
1095-14
SECURITY
CENTER- DAY - CS - A SURVEILLANCE
MONITOR SHOWSTHE SLOWPAN R ACROSS
THE SEEMINGLY DESERTEDMACHINE ROOM.
JANOSS FEET ARE BRIEFLY GLIMPSEDAS
HE CLIMBS UP THE ROPEOUT OF SIGHT.
CAMERAPULLS BACK FROMTHE MONITOR.
1104-01
SCENE152 - MCS:A BOREDSECURITYTECH
[#1] IS SITTING AT THE CONSOLE,
READING
A MANUALAND NOTLOOKINGAT THE O.S.
SURVEILLANCEMONITORS.
t 106-02
SCENE153 - MFS - LOOKINGACROSSTHE
ROOMTO THE BACK OF SECURITYTECH #1
SEATEDIN FRONTOF A LONGCONSOLEOF
SURVEILLANCEMONITORS,IGNORING ALL
OF THEMWHILE HE READSHIS MANUAL.
SECURITYTECH #2 COLLECTSHIS THINGS
AS HE LEAVESTHE MAIN CONSOLE.
t110-00
SCENE154- INT. MUSEUM/IMPRESSIONIST
WING- DAY o MFS- HIGH ANGLE- BORED
SCHOOLCHILDRENSTAND AROUNDMONETS
"SANGIORGIO MAGGIORO". CAMERAPANS R
TO REVEAL THEIR TEACHERSTANDING
BEHIND THEM, LECTURINGTHEM FROMTHE
MUSEUMBROCHURE.
92
/1110.2
1116.10 6.8
TEACHERTO CLASS)
This painting is consideredthe first
Impressionistworkin history.
(Impressionist : in the style of
Impressionism,a theory of painting,
especially amongFrenchpainters of
about 1870, of depicting the natural
appearancesof objects by meansof
dabs or strokes of primary unmixed
colors in order to simulate actual
reflected light)
93
1117.0
1121.6/ 4.6
TEACHERTO CLASS)
It started the Impressionist movement
and
influenced...
TEACHER
(off)
This painting is consideredto be the first
Impressionist(on) workin history. It started the
Impressionist Movement.
It influenced...
1121-07
(lAB - 39)

MASTERENGLISHSUBTITLE/SPOTrlNG
LIST
SCENE185 - MS - THE TEACHERREFERSTO
THE BROCHUREAS THE SCHOOLCHILDREN,
L, ROLL THEIR EYESIN BOREDOM.
PROCTORMCKINLEY WANDERSAROUNDIN
RBG AND APPROACHES
THE TEACHER.
TEACHER
...dozens of major artists whowent on to found
94
1121.12 1127.4 5.8
TEACHERTO CLASS)
...dozens of artists whowent on to found
thefirst...
95
/1127.10 1132.0/ 4.6

(over sceneend)
TEACHERTO CLASS)
...major school, or style, of the 20th
century.
(the kids all look bored)
1134.0
TEACHERTO CLASS)
Okay,try this.
(try this : i.e., see whatyou think of
this fact)
the first majorscho-...

SCHOOLGIRL
#1 (overlapping)
(sighs)
1127-09
SCENE150 - MCS- LOOKINGAT A
SCHOOLGIRL[#2] AS SHE SCRUNCHES
UP
HER NOSE, BEWILDEREDBY THE LECTURE.
TEACHER
(off)
...-ol or style of the Twentie-...
SCHOOLGIRL
#2 (overlapping)
(puzzledgrunt)
1130-03
SCENE157 - MCS- A SCHOOLBOY
WHISPERS
TO HIS FRIEND.
TEACHER
(off)
...-th Century.
SCHOOLBOY
(whispersindistinctly)
1132-03
SCENE158 - MCS- THE TEACHERNOTICES
THE O.S. SCHOOLCHILDREN
NOT PAYING
ATTENTION AND PAUSES A MOMENT.SHE
PUTS DOWNTHE BROCHURE.
SCHOOLBOY
& SCHOOLGIRL
#2 (off)
(chuckle)
TEACHER
(overlapping)
96
Okay,(smackslips) try this. Its worth a hundred
1137.12 3.12
million bu-...
1142-01
97
1138.4 1142.0/ 3.12
TEACHERTO CLASS)
Its worth a hundredmillion bucks.
(It : This painting)
(bucks: slang for, dollars)
(the kids are impressed)
(lAB - 40)

TITLE
NO.
LIST
SCENE159 - MCS- THE SCHOOLCHILDREN

ALL "LOOK UP, SUDDENLY
ATTENTIVE.
TEACHER
(off)
...-cks.
SCHOOLCHILDREN
(overlapping gasps, whistles and comments
of
"What?")
1144-07
SCENEt80 - INT. MUSEUM
MACHINEROOMDAY - MCS- LOWANGLE- LOOKINGUP AT
JANOS, WHOIS NOWPERCHEDABOVE
TRACKS OF ELECTRIC CONDUIT HANGING
JUST BELOWTHE CEILING, CAMERATILTS
DOWNTO REVEALHIS HANDUSIN(~ A SMALL
BUZZ SAW TO CUT THROUGHONE OF THE
CONDUITPIPES.
1151-11
SCENE161 - FS ~ LOWANGLE- LOOKINGUP
AT ALL THE CONDUITPIPES ON THE CEILING
AS JANOS CUTS THROUGHONE OF THEM.
1154-09
SCENE162 - INT. CROWNS
PRIVATE
OFFICE- DAY- MCS- CROWN
IS STILL BEING
FITTED BY HIS TAILOR AS HIS O.S. STAFF
TALK TO HIM.
CROWNSSECRETARY
(off)
(low andindistinct - continuesunderfollowing
sceneand dialogue)
98
CROWN
EXECUTIVE#1 (off)
Andthe governmentg-...
1156-00
SCENE163 - MFS - WALLACEWANDERS
AROUNDWITH THE BASKETBALLIN FG AS
THE TWOCROWNEXECUTIVES WORKIN BG.
/1154.12 1159.8/
(over scene end)
4.12
CROWNEXECUTIVE #1 TO CROWN)
The governmentguy we paid off on that
deal is back.
(paid off : slang for, bribed)
(deal: business transaction)
(note that Crownis still reviewing
businesswith his team)
CROWNEXECUTIVE #1
.,,-uy wepaid off to makea state deal is..,
CROWN
(off) (overlapping)
Thankyou, Daria.
1159-10
(lAB - 41)
"THE THOMAS
CROWN
~,FFAIR"
R/lAB PI42
TITLE
NO.
LIST
GLANCESBACK L
AT O.S. EXECUTIVE#1 AND MAKESA
NEGATIVE GESTURESAS THE TAILOR
MAKESADJUSTMEHTS
TO HIS SUIT.
CROWN
EXECUTIVE#1 (off)
..back.
CROWN
No, no, no, this is the secondtime they lied.
99
/1159.14 1163.10/ 3.12

Theyve lied twice now. Screwthem.
(They : presumablyreferring to others
associ&ted with the manExecutive #1
is describing)
(Screw them: slang for, Forget about
them- To hell with them)
(the Secretary passesout sandwiches
to the group)
100
11163.14 1166.5) 2.7
SECRETARYTO CROWNEXECUTIVE #1,

THEN CROWNEXECUTIVE#2 TO
CROWN)
-Turkey.
-Mr. Schmidtcalled.
(Turkey : i.e., You ordereda turkey
sandwich)
(Mr. Schmidt : nameof an
unspecified person)
101
1166.14 1171.0/ 4.2
CROWNSSECRETARYTO CROWN)
The Douglastonconferencecall is in 10
minutes.
(conferencecall : telephonecall by
which a caller can speakwith several
people at the sametime)
(back in the museum,
a Little Girl
reachesup to touch a painting - the
Proctorstops .her)
Screwem.
CROWNS
SECRETARY
(off)
Daniel...
(overlapping)
1163-11
SCENE165 - MFS- PASTWALLACE,RFG, TO

THE TWOEXECUTIVES, LBG, AS CROWNS
SECRETARY,STANDING CENTERFRAME,
TOSSESA SANDWICHTO EXECUTIVE#1.
CROWNS SECRETARY
...you hadturkey.
CROWN
EXECUTIVE#1 (off)
Turkey.
THE SECRETARYTURNSL TO A BOX OF
LUNCHESON THE DESK AND.STARTSTO
TAKE OUT ANOTHERSANDWICH.
CROWN
EXECUTIVE#2 (off)
Mister Schmidtcalled...
t166-05
SCENE166 o MCS- THE TAILORS ASSISTANT
HELPS CROWNON WITH AN OVERCOATAS
EXECUTIVE#1 LOOKSOVERHIS NOTESBY
THE WINDOWIN LBG.
CROWN
EXECUTIVE#2 (off)
...from U.B.S. He says theres an openingfor the
Board.
CROWNS
SECRETARY
(off) (overlapping)
Dont forget the Douglastonconferencecall in
ten minutes.
1171-01
(lAB - 42)
"THE THOMASCROWNAFFAIR" R/lAB P143

TITLE
NO.
LIST

GALLERY- DAY - MS - CAMERA
DOLLIESIN
ON A PAINTING OF A WOMAN
ON A HILL AS A
LITTLE GIRL ENTERSLFG ANDW,~LKS UP TO
IT.
PEOPLE IN MUSEUM
TEACHER
(off)
(low) Nowthis painting is by another famous
artist.
His nameis Renoir. (continues low and
indistinct underfollowing scenesand dialogue)

THE LITTLE GIRL REACHESUP TO TOUCH
THE PAINTING, AND MCKINLEYSHAND
SUDDENLYENTERS FROM BEHIND AND
GRABSHER BY THE WRIST, STOPPINGHER.
PROCTOR
MCKINLEY(face
Younglady...
off)
102
1179.8
1181.8
2.0
PROCTOR
MCKINLEYTO LITTLE GIRL)
Younglady...
103
1184.4
1186.4/ 2.0
PROCTOR
...do not touch.
(touch: i.e., touch tl~e paintings)
104
1188.0
1192.6
PROCTOR
Ill let you go this time. Onyour way.
(let you go : i.e., allow you to leave
without punishment)
(the Little Girl moves
off o in the
machineroom, Petru consults a
diagramwith writing on it)
CAMERAHOLDSON THE GIRL IN MCSAS

SHE TURNSAROUNDTO FACE O.S.
MCKINLEY.
PROCTOR
MCKINLEY
(off)
...do not touch.
(contd)
1186-05
SCENE168 - MCS- LOOKINGUP PAST THE

LITTLE GIRL, RFG, TO MCKINLEYBENDING
DOWNTO HER STERNLY.
PROCTORMCKINLEY
(whispering)Ill let you go this time. Onyour
way.
MCKINLEYNODSL, THENTHE LITTLE GIRL
IMMEDIATELYRUNS L, CAMERAPANNING
WITH HER, OFF MCKINLEY, TO REVEALTHE
REST OF THE SCHOOLCHILDREN
IN THE
NEXT GALLERY. SHE RUNS THROUGHTHE
DOORTO JOIN THEM.
,1196-00
4.6

MACHINEROOMDAY - MCS- CAMERATILTS UP FROMTHE
CEILING CONDUITSTO REVEALJANOS
PERCHEDABOVE THEM. HE PULLS OUT A
SMALL CARD.
1199-04
(lAB - 43)
R/lAB PI44
COMBINED
TITLE
NO.
MASTER
LIST
SCENE170 - CS o JANOSSHANDFLIPS THE

CARDOVERTO REVEALIT IS A DIAGRAMOF
ALL THE CONDUITS, WITH SPECIFIC ONES
LABELEDIN REDINK:
105
Electric
Locks
1202-15
SCENE171 - MCS- PASTJANOS, LFG, TO
THE CONDUITPIPES, ONE OF WHICHHAS
BEEN CUT AND HAS ELECTRICALLINES
HANGINGOUT OF IT. JANOSSTARTSTO
ATTACHA CLIP TO ONE OF THE LINES.
1206-02
1200.4
1202.14/ 2.10
NARRATIVE
TITLE) (of writing)
Electric
Locks
(up on the ceiling, Janoscuts a line
that controls theselocks - he then cuts
lines whichshut downthe air
conditioning compressors- a warning
light appearson a control panel in the
security room)
SCENE172 - CS - JANOSS HANDATTACHES

THE CLIP TO THE ELECTRICALLINE,
CAUSINGIT TO SHORTCIRCUIT.
1207-05
GALLERY
- DAY - MCS- LOOKINGUP AT A
PAINTING OF A SUNSETOVERA RIVER AS A
CLUNKINGSOUNDIS HEARDFROMTHE O.S.
AIR CONDITIONINGSYSTEM. CAMERATILTS
DOWNAND PANS L TO REVEALTHE LITTLE
GIRL IN THE DOORWAY,
LAGGINGBEHIND TO
LOOK AROUNDAS THE OTHER
SCHOOLCHILDREN
EXIT RBG INTO THE NEXT~
GALLERY.
PEOPLE IN MUSEUM
TEACHER(off)
(low andindistinct)
THE LITTLE GIRL HEARSTHE CLUNKING
SOUNDSAND TURNSTO LOOK RFG.
1214-14
SCENE174 - MCS- LITTLE GIRLS POVCAMERASWISH PANS R FROM ONE
PAINTING TO THE NEXT AS A CLUNKING
SOUNDIS HEARD, THEN CAMERASWISH
PANS TO A THIRD, AND THEN A FOURTH
PAINTING IN SYNC WITH MORECLUNKING
SOUNDS. CAMERASWISH PANS WITH A
FINAL CLUNKINGSOUNDTO REVEALA
WOMANIN A CORNER,STUDYING ONE OF
THREEPAINTINGS.
1221-09
(lAB - 44)
"THE THOMASCROWN
AFFAIR"
R/lAB PI45
TITLE
NO.
MASTER
LIST
SCENE175 - MCS- THELITTLE GIRL STARES

RFG CURIOUSLY AS CAMERASLOWLY
DOLLIESIN ON HER.
1225-00
MACHINEROOMDAY - MCS- LOOKINGUP AT JANOSAS HE
CUTS ONE OF THE CONDUITWIRES.
1228-00
SCENE177 - CS - PETRUWATCHES
FROM
BEHIND THE CORNER.HE HEARSA NOISE
AND TURNS TO LOOK R AS CAMERASWISH
PANS R, OFF HIM, TO REVEALONEOF THE
AIR COMPRESSOR
UNITS SHUTTING DOWN.
CAMERACONTINUESPANNING R TO EACH
COMPRESSOR
UNIT AS THEY ALL SHUT
DOWNIN SUCCESSION.
1235-14
SCENE178 - CS - PETRULOOKSUP AT O.S.
JANOSANDGIVES HIM A THUMBSUP.
1237-06
SCENE179 - MCS- LOOKINGUP AT JANOS
AS HE SUDDENLYGETS ELECTROCUTED
AND SPRINGS BACK FROMTHE CONDUIT
WIRES.
JANOS
(grunts - continues underfollowing scene)
1239-03
SCENE180 - FS - LOWANGLE- LOOKINGUP
AT THE CEILING AS JANOSFALLS FROMTHE
CONDUITSAND ENDS UP DANGLINGFROM
THE HARPOONROPE. HE DROPSTHE CUT
PIECE OF CONDUITPIPE.
1240-06
SCENE181 - MCS- THE PIPE PIECE FALLS
TO THE FLOORWITH A CLATTER.
1241-04
SWISHPANS L
FROMTHE PIPE PIECE, TILTING UP TO
REVEALPETRU REACTINGWITH PANIC.
1243-06
(lAB - 45)

COMBINED
TITLE
NO.
MASTER
LIST
SCENE183 - MS - LOOKINGACROSSTHE
FLOORTO DIMETRI AND IGGY HIDING
BEHIND THE POWERBOX AS THE POLE ON
THE FLOORSTARTS TO BOUNCEAROUND,
BEING JERKED BY THE HARPOON
ROPE.
CAMERA
TILTS UP TO DIMETRIS AND IGGYS
FACES STARING UPWARD.
1245-05
SCENEt84 - FS - LOWANGLE- LOOKINGUP
AT JANOS DANGLING HELPLESSLYFROM
THE CEILING.
1247-09
SECURITY
CENTER
o DAY - CS - SECURITYTECH#1
LOOKSUP FROMHIS MANUALAS HE HEARS
A BEEPING SOUNDAND TURNSTO LOOK R
AT THE O.S. MONITORS.CAMERATHEN
PANSR, OFF HIM, TO REVEALA MESSAGE
FLASHINGON A MONITOR.
1254-06
MACHINEROOMDAY - MFS- LOWANGLE- JANOSRIGHTS
HIMSELF AND CLIMBS BACK UP TO THE
CONDUITPIPES.
1258-13
SCENE187 - MCS- PETRU WATCHES
FROM
BEHIND THE CORNER.HE HEARSA
CLATTER AND LOOKS DOWNTOWARDTHE
O.S. FLOOR. CAMERATILTS DOWNRAPIDLY,
OFF PETRU, TO REVEALTHE POLE
BOUNCINGAROUNDWILDLY ON THE FLOOR
AS IT IS JERKEDBY JANOSSROPE.
1261-00
SCENE188 - MCS- PETRUCALLS OUT
QUIETLYTO O.S. DIMETRI.
PETRU
Hey!
1261-13
SCENE189 - MCS- DIMETRIREACTSTO O.S.
PETRUS CRY, AND CAMERATILTS DOWNTO
REVEAL HIS FOOT STOMPINGDOWNON THE
POLE TO STOP IT FROMMOVING. IN DOING
SO, HE STEPSON IGGYS HAND, WHICHHAS
BEEN HOLDINGTHE POLE.
1264-11
(lAB - 46)

COMBINED
TITLE
NO.
MASTER
LIST
SCENE190 - CS - IGGY STARTSTO CRYOUT

IN PAIN.
IGGY
(groaning) Oh--!
DIMETRIS HANDCLAMPSOVERIGGYS
MOUTHTO QUIET HIM.
1268-05
SCENE191 - MCS- PAST JANOS, LFG, TO
THE WIRES H~,NGING FROMTHE CUT
CONDUITPIPE, AS THEYSTART TO SMOKE.
JANOS
(grunts)
JANOS LOOKSUP R WITH CONCERN,THEN
CAMERA
TILTS UP, OFF HIM, TO REVEALA
SMOKEALARMON THE CEILING.
1276-06
SECURITY
CENTER- DAY - MS - SECURITYTECH#1
LOOKSR AT THE WARNINGLIGHT ON HIS
MONITOR.
MUSEUMSECURITY TECH #1
Hey, Jimmy,would you take a look in the
106
/1276.8 1284.0
(over sceneend)
7.8
SECURITYTECH #1 TO
SECURITYGUARD#2)
Jimmy, go check the compressorroom.
Theres somethingwonkywith the A.C.
(wonky : slang for, wrongincorrectly operating)
(A.C.: initials for, air conditioning)
107
1284.8
2.10
SECURITY GUARD#2 TO
SECURITYTECH #1)
Cant wejust tell engineering?
(engineering: the division of the
museum
which is staffed with
engineers whohandle electrical
problems)
108
1287.8
1289.10/2.2
(over scene end)
compressor room? Theres something wonky

with the...
THE TECH TURNSTO LOOKLFG AT AN O.S.
GUARD.
1283-00
SCENE193 - MS - PASTSECURITYTECH#1,
TIPPED IN LOWERRFG, TO TWOSECURITY
GUARDSAS THEY ENTER R AND WALK L TO
THE DOOR.
1287.2
...A.C.
THE TVVO GUARDSSTOP IN FRONTOF THE
DOORAND TURN BACK TO THE TECH.
MUSEUMSECURITY GUARD #2
Cant we just passit on to Engineering?
MUSEUM
SECURITYTECH#2 (off)
The book says...
SECURITYTECH #1 TO
SECURITYGUARD#2)
Thebooksays checkit first.
(The book says : i.e., Regulations
state)
(Security Guard#2 goes down.in an
elevator with Guard#1)
1287-14
(lAB - 47)
R/lAB P/48
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"FINGLIST
SCENE194 - MS - LOOKINGDOWNTHE
CONSOLETO SECURITY TECH #2 SEATEDAT
THE ENDOF IT.
...we checkit first.
1289-12
SCENE195 o MS - SECURITYGUARD#2
NODS, THEN TURNS AND FOLLOWSGUARD
#1 OUT THE DOOR.
MUSEUMSECURITY GUARD#2
All right.
1293-07
SCENE196 - CS - SECURITYTECH#1
STARESR AT THE O.S. MONITORS.
1295-13
SCENEt97 - MCS- TECH#1S POV- A
SURVEILLANCEMONITORSHOWSA SERIES
OF TIME LAPSE SNAPSHOTSTAKEN OF
PEOPLEIN THE IMPRESSIONISTGALLERY.
MUSEUM
SECURITYGUARD#1 (off)
It wouldbe...
1298-15
SECURITY
CENTER/HALLWAY
- DAY - MCS- CAMERA
FOLLOWSTHE TWOSECURITY GUARDSAS
THEYSTEP INTO AN ELEVATOR.
...one of the hottest daysof the year.
109
/1299.0
1301.12 2.12
SECURITY GUARD#1 TO
SECURITYGUARD#2)
It wouldbe a hot day.
(It : Today)
110
1302.4
1305.10 3.6
SECURITY GUARD#2 TO
SECURITYGUARD#1)
Canyou believe its nearly October?
Canyou believe its nearly October?
THE ELEVATORDOORSSHUT IN FG,
OBSCURINGTHE TWO GUARDS.
1307-01
MACHINEROOMDAY - MCS- CAMERASWISH PANS R TO THE
FLOORINDICATOR OVER THE ELEVATOR
DOORAS IT SHOWSTHE ELEVATOR
DESCENDINGFROM THE FOURTHTO THE
THIRD FLOOR.
1308-15
(lAB - 48)

TITLEI
NO.
MASTER
ENGLISHSUBTITLE/SPOIFING
LIST
SCENE200 - MCS- PETRUTURNSTO LOOKL

AT THE O.S. ELEVATOR,THEN CAMERA
DOLLIESIN ON HIS FACEINTO CS.
1313-07
DOLLIES IN ON
THE FLOORINDICATOR ABOVETHE
ELEVATORDOORAS IT SHOWSTHE
ELEVATORDESCENDINGFROMTHE THIRD
TO THE SECONDFLOOR.
1318-03
SCENE202 o MCS- CAMERA
DOLLIES IN ON
DIMETRI AS HE WATCHESWORRIEDLY.
1321-12
ELEVATOR
- DAY MCS- GUARD#1 LOOKSDOWN,BORED.
VVhydont you bring the kids?
111
/1322.0 1323.12 1.12
SECURITY GUARD#1 TO
SECURITYGUARD#2)
Bring the kids.
(the kids : your children)
(note that we havecut to Petru andhis
menseeing the elevator panel
indicating the descendingelevator - we
return to the Guardsin midconversation)
112
1324.2
SECURITY GUARD#2 TO
SECURITYGUARD#1)
Shedprobably run to court, saying I was
endangeringthem.
(She : My ex-wife)
(run to court : i.e., hurry to make
legal claim in court)
113
/1336.4 1338.4 2.0
MUSEUM
Are you kidding? You knowhowshe is.
CAMERAPANS L, OFF GUARD#1, TO GUARD
#2.
MUSEUM
SECURITYGUARD#2 (contd)
Shed probably run to court saying I was
.1331.0/ 6.14
endangeringthem.
1331-01
MACHINEROOMDAY - CS - CAMERA
ZOOMSIN ON THE
FLOORINDICATOR, WHICH SHOWSTHE
ELEVATORDESCENDINGFROM THE LOBBY
TO THE BASEMENT,AND FINALLY THE
SUBBASEMENT[WHERE THE MACHINE ROOM
IS LOCATED].
1336-01
ELEVATOR
- DAY MCS- PAST GUARD#2S SHOULDER,TIPPED
IN LFG, TO GUARD#1 GLANCINGOVERAT
HIM AS THE ELEVATORCOMESTO A STOP.
Yourenot kiddin, are you?
SECURITY GUARD#1 TO
SECURITYGUARD#2)
Are you kidding?
(kidding : joking)
(lAB - 49)
"THE THOMASCROWN
AFFAIR"
R/lAB PI50
TITLE
NO.
LIST
CAMERADOLLIES IN SLIGHTLY ON GUARD
#1, OFF GUARD#2, AS THE O.S. DOOR
OPENS.
Youwouldnt believe the shit that woman
(off)
114
1338.10 1342.6 3.12
SECURITYGUARD#2 TO
SECURITYGUARD#1)
Youwouldnt believe the shit she pulls.
(the shit she pulls : vulgar slang for,
the abusiveandridiculous behavior
she indulgesin)
(they enter the machineroom, whichis
nowemptyo they can see none of the
compressorsare operating)
1374.10 1378.4
3.10
SECURITYGUARD#1 TO
SECURITYGUARD#2)
The air conditioning plants crappedout.
(plant : operatingfacility)
(crapped out : crude slang for,
ceasedfunctioning)
1379.2
3.0
SE~CURITYGUARD#2 TO
SECURITYGUARD#1)
Whydidnt they call maintenance?
(they : the security technicians)
(maintenance: division of the
museum
responsible for repairing all
mechanicalproblems- this is probably
the samedivision which wascalled
engineeringin Title #107)
deals out.
GUARD#1 WALKSR OUT THE DOORINTO
THE MACHINE ROOM, CAMERAPANNING
WITH HIM.
1345-01
MACHINEROOMDAY - MS - THE TWOGUARDS
STEP OUT OF
THE ELEVATORAS CAMERADOLLIES IN ON
THEM. THEY WALK L ACROSSTHE ROOM,
WHICHIS NOWDESERTED, WITH NO TRACES
OF THE ROPEOR POLE, AS CAMERAPANS
WITH GUARD#2. CAMERATHEN PANS
SLIGHTLY R TO HOLDON THE BANKOF AIR
CONDITIONING COMPRESSORS
IN BG AS
THE TWOGUARDSWALK UP TO THEM AND
FIND THEY ARE ALL SHUT DOWN.
1360-00
STRAIGHT DOWNFROMTHE CEILING
CONDUITSTO THE TWOGUARDSSTEPPING
L TO THE COMPRESSORS.CAMERARACKS
FOCUSAND TILTS DOWNSLIGHTLY TO
REVEAL JANOSHIDING SILENTLY AMONG
THE CONDUITS.
1370-1
SCENE208 - CS - GUARD#1 LOOKSAROUND 115
CURIOUSLY.
Thewholeair-conditioning plants crappedout.
MUSEUM
Whydidnt they call Maintenance?
(scoffs) Hmph.
GUARD#1 TURNS AND WALKSR ACROSS
THE ROOM, CAMERAPANNINGWITH HIM.
1387-05
116
1382.2
(lAB - 50)
R/lAB PI51
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOnINGLIST
SCENE209 - MS - GUARD#1 (LEGS) WALKS

LFG BESIDE THE WALL AS CAMERA
PANS L,
OFF HIM, TO REVEALPETRUHIDING IN THE
SHADOWS
ON THE OTHER SIDE OF THE
WALL.
1398-08
EXHIBITION REEL FOOTAGE:
1383-08
LAST FRAMEOF PICTURE: 1395.8
END OF REEL lAB
END OF REEL lAB
(lAB - 51)
R/2ABPI1
TITLE
NO.
START MEASURING
0.01 AT STARTMARKIN
ACADEMYLEADER.
12-00
LIST
LABORATORY: 0.01 AT STARTMARK
30.3 = 2ND SCENEEND
SCENE1 o INT. CROWN

OFFICES- DAY - MS CAMERA FOLLOWSCROWNOUT THE OPEN
DOORWAY
OF HIS PRIVATE OFFICE,
LOOKINGDOWNAT THE BRIEFCASEIN HIS
HAND.
34.7 = 3RD SCENEEND
PEOPLEIN CROWNS
OFFICE(off)
following dialogue)
CROWN
(face off)
Seeyou in the morning, Daria.
117
/12.4
i18
17.0
119
19.2
16.8
4.4
CROWNTO SECRETARY, THEN

SECRETARYTO CROWN)
-Goodnight, Daria.
-Foundyour briefcase, I see.
(Found : You found)
(note that Crown,carrying his
briefcase, leaveshis office at the end
of the day)
1.12
CROWNTO.SECRETARY)
Evidently.
2.0
SECRETARYTO CROWN)
Goodnight, sir.
(meanwhile, at the museum,
Petru,
Iggy and Dimetri have changedinto
docents uniforms and enter the
Impressionist Gallery.- they approach
Proctor #1)
CAMERATILTS UP TO REVEAL CROWNS

SECRETARYBEHIND HER DESK AS SHE
WATCHESCROWNWALK PAST WITH HIS
BRIEFCASE.
CROWNS SECRETARY
Foundyour briefcase, I see.
CAMERADOLLIES IN ON CROWNS
SECRETARYAS CROWNPAUSES IN RBG TO
LOOKBACK AT HER.
CROWN
Evidently.
18.12
.CAMERA HOLDS ON CROWNSSECRETARY

IN MS AS SHE TURNSAwAY FROMCROWN
AND STARTSTO MAKE A PHONECALL.
CROWNS SECRETARY
Goodnight, sir.
CROWN
Goodnight.
22-14
21.2

GALLERIES- DAYMS - PROCTORMCKINLEYENTERSL AND
STOPS TO TALK WITH TWOOTHER
PROCTORS
IN FRONTOF A DRIP PAINTING
AS TOURISTSWALK PAST IN FG. MCKINLEY
IS FANNINGHIS FACE WITH A BROCHURE.
PEOPLE IN MUSEUM
30-03
(2AB- 52)
R/2AB PI2
TITLE
NO.
LIST

AIR CONDITIONING
DUCTS- DAY - MS - LOWANGLE- LOOKING
STRAIGHTUP AT JANOSS FEET AS HE
PI.~LLS HIMSELFSTRAIGHTUP TOWARD
THE
TOP OF THE NARROW
DUCT.
34-07
SCENE4 - MCS- JANOSPULLS HIMSELFUP
TO THE TOP OF THE DUCT, CAMERATILTING
UP WITH HIM. HE PAUSESAT THE TOP AND
LOOKS DOWN.
DIMETRI
(off)
(grunts- continues underfollowing scene)
37-09
SCENE5 - MS - JANOSSPOV- LOOKING
STRAIGHTDOWNAT DIMETRI, WHOIS
FURTHERDOWNTHE DUCT, HANGING FROM
JANOSS ROPE. HE STARTS TO LOWER
HIMSELF THROUGHAN OPEN GRATE AT THE
BOTTOMOF THE DUCT.
41-00
SCENE6 - INT. MUSEUM/PROCTORS
LOCKER
ROOM- DAY - MS - DIMETRI DROPSDOWN
THROUGHTHE OPENCEILING GRATEINTO
THE LOCKERROOM, CAMERATILTING DOWN
WITH HIM TO REVEALPETRUALREADYIN
THE ROOM, CHANGINGHIS CLOTHES. ONCE
DIMETRI HAS LANDED, SEVERALDUFFEL
BAGS ARE TOSSEDDOWNTO HIM FROMTHE
DUCT.
52-00
AIR CONDITIONING
DUCT- DAY - MCSo HIGH ANGLE- LOOKING
STRAIGHT DOWNTHROUGHTHE OPEN
CEILING GRATETO DIMETRI AND PETRUIN
THE LOCKERROOMAS THEY LOOKUP INTO
THE DUCT. PETRUGIVES A SIGNAL, THEN
IGGY DROPSDOWNINTO FRAME AND
STARTS TO CLIMB THROUGHTHE GRATE.
59-03
(2AB- 53)
R/2AB PI3
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOFIINGLIST

OUTSIDE
LOCKERROOM- DAY - CS - PETRUOPENS
THE DOORAND STEPS OUT INTO THE
GALLERIES,FOr I.OWED BY DIMETRI AND
IGGY, AS CAMERAPULLS BACK WITH THE
THIEVES TO REVEALTHEY ARE NOWALL
WEARINGPROCTORSUNIFORMS.
PEOPLEIN MUSEUM
(on/off)
following scenes)
CAMERATILTS DOWNTO REVEAL A
SCHOOLBOYAS HE ENTERS LFG AND
STARTS WALKINGPAST THE THREE
DISGUISED THIEVES. IGGY ROUGHLY
PUSHESHIM ASIDE.
71-12
SCENE9 - MCS- DIMETRI WALKSRFG
THROUGHTHE GALLERIES, CAMERA
DOLLYINGBACKWITH HIM.
76-04
SCENE10 - CS - PETRUWALKSLFG
THROUGHTHE GALLERIES, FOLLOWEDBY
DIMETRI, AS CAMERA
DOLLIES BACK WITH
HIM.
81-03
SCENE11 o EXT. UPPEREAST SIDE STREETDAY - MS - HIGH ANGLEo CAMERA
CRANES
DOWNTOWARDA MOVING TAXI, WHERE
CROWNCAN BE GLIMPSEDIN THE BACK
SEAT, ANDPANSL WITHIT TO REVEALIT IS
HEADED DOWNA STREET-TOWARDTHE
FRONTOF THE MUSEUM.THE TAXI STOPS
BEHINDOTHERTRAFFIC.
CROWN
(face off)
(low) This is cool. Hereyou go. rll get out here.
Thankyou.
CROWN
GETS OUT OF THE TAXI WITH HIS
BRIEFCASE, THEN WALKSBG DOWNTHE
STREET TOWARDTHE MUSEUMAS CAMERA
FOLLOWSHIM AT A SLOWERPACE. CAMERA
THEN CRANESUP, OFF CROWN,TO HOLD ON
THE MUSEUM
IN FS.
112-03
(2AB
- S4)
R/2AB PI4
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOTIINGLIST
SCENEt2 - INT. MUSEUM/MAIN

GALLERYDAY - MS o HIGH ANGLE- CAMERA
FOLLOWS
PETRU, DIMETRI AND IGGY THROUGHA
DOORWAY
INTO THE BUSY MAIN GALLERY.
PROCTOR
#1 IS STANDINGIN THE MIDDLE
OFIT.
PEOPLE IN MUSEUM
(low and indistinct chatter o continuesunder
PETRU STOPS AND TALKS WITH PROCTOR
#1 AS DIMETRIANDIGGY EXIT L ANDR.
CAMERAHOLDS OVER PETRU TO PROCTOR
#1.
PETRU
Hey, they wantto talk to you upstairs.
120
118.0
121.8
3.8
PETRUTO PROCTOR
#1)
Theywantto talk to you upstairs.
(They : implying, The museum
administrators)
121
122.0
125.12
3.12
PROCTOR
#1 TO PETRU)
Me?Or the regular proctor?
(Me : Theywant to talk to me)
(proctor : one appointed to supervise
visitors to a museum)
122
126.2
129.2
(over scene end)
3.0
PROCTOR#1 TO PETRU)
McKinleywill be backin a second.
123
129.8
132.4
2.12
PETRU TO PROCTOR#1)
Youshould talk to them.
(them :i.e., the administrators
upstairs)
124
137.8
139.12/ 2.4
PROCTOR#1
Me?Or the regular proctor? Because, uh,
McKinleyll be backin just...
128-07
SCENE13 - CS - PETRUSTARESLFG AT O.S.
PROCTOR
#1. IGGY IS STANDINGBEHIND
HIM IN LBG.
PROCTOR
#1 (off)
...a couple of seconds,and-PETRU
(overlapping)
I think you shouldtalk to them.
132-12
SCENE14 - MS - LOOKINGOVERPETRUS
HEADTO PROCTOR
#1, STARING AT PETRU
IN CONFUSION.DOZENSOF TOURISTS
WANDERAROUNDTHE GALLERY IN BG.
136-13
SCENE15 - CS - PETRUSTARESLFG AT O.S.
PROCTOR
#1. IGGY IS STANDINGBEHIND
HIM IN LBG.
PETRU
Call themif you like.
139-14
PETRUTO PROCTOR
#1)
Call themif you like.
(Proctor #1 goesto a phoneon the
wall and dials - Janos, whois
monitoring the line from the basement,
takes the call)
(2AB
- 55)
R/2AB PI5
TITLE
NO.
MASTER
LIST
SCENE16 - MS - LOOKINGOVERPETRUS
HEADTO PROCTOR#1 AS HE-HESITANTLY
TURNSAND STARTS TO WALK R, CAMERA
PANNINGWITH HIM.
143-03
SCENE17 - MCS- CAMERARACKSFOCUS
FROMPETRU, RFG, TO IGGY, L, AS THEY
BOTH WATCHPROCTOR#1 ENTER L AND
WALK TO A TELEPHONEBOX BY THE
GALLERY DOORIN BG. THE PROCTOR
OPENS THE BOX AND REACHESFOR THE
TELEPHONEINSIDE AS CAMERARACKS
FOCUSTO HIM IN MS.
150-04
TILTS UP FROM
PROCTOR#1S HANDPULLING THE PHONE
OUT OF THE BOX ANDPAST HIS FACE TO
THE CEILING HIGH ABOVE.
t 54-03
AIR CONDITIONING
DUCT- DAY- MCS- JANOS,STILL HIDING AT
THE TOP OF THE DUCT, TALKS INTO A
TELEPHONETHAT HE HAS TAPPEDINTO THE
MUSEUMSMAIN LINE. CAMERACRANESUP
OVERHIM.
JANOS
(into telephone)
Administration. Hello?
PROCTOR
#1 (over telephone)
Yes,this is Jeff in wingeight.
160-03
125
154.8
156.8
126
ITAL
157.0
127
/160.6
128
164.4
167.4
(over sceneend)
2.0
160.0/ 3.0
SCENE20 - INT. MUSEUM/MAIN

GALLERYDAY - MCS- PETRUSTARESLFG AT O.S.
PROCTOR#1 AS TOURISTS WANDER
THROUGH
THE GALLERIESIN BG.
JANOS)(into telephone)
Administration.
PROCTOR
#1 TO JANOS)
(over telephone)
This is Jeff, in wingeight.
(wing : section of a building projecting
fromthe mainor central part)
PEOPLE IN MUSEUM
163.12
3.6
PROCTOR
#1 (off) (into telephone)
I wasjust told you wantedto speakto me?
Okay...
165-01
3.0
PROCTOR
#1 TO JANOS)(into telephone)
I wastold you wantedto speak to me?
(Proctor #1 listens)
PROCTOR
#1 TO JANOS)(into telephone)
Okay,Ill beright up.
(be right up : proceedimmediately
upstairs)
(Proctor #1 hangsup)
(2AB- 56)
~HE THOMAS
CROWN
AFFAIR"
R/2ABPI6
ITITLE
NO.
MASTER
SCENE21 - MS- PASTIGGY, TIPPEDIN LFG,

TO PROCTOR
#1 TALKING ON THE
TELEPHONE.
PROCTOR
#1 (into telephone)
...111 beright up.
PROCTOR#1 HANGSUP THE PHONEAND
TURNSTO IGGY AND O.S. PETRUWITH AN
AWKWARD
SMILE.
129
PROCTOR
#1 (contd)
(to PetruandIggy) I11, uh, just...go up.
171.12
175.4/
3.8
PROCTOR#1 TO PETRU)
Ill just goup.
(Proctor #1 exits - Petru andDimetri
immediatelyturn to the visitors in the
gallery)
182.4
3.12
PETRUTO VISITORS)
Im sorry, this exhibit is closing.
PROCTOR
#1 STARTSTO EXIT R.
175-07
SCENE22 - MS - PASTPETRU, RFG, AND
IGGY, L, TO PROCTOR
#1 AS HE TURNSAND
EXITS OUT THE GALLERYDOORIN BG. AS
SOONAS HE IS GONE,PETRUSNAPSHIS
FINGERSAT IGGY ANDGIVES HIM A SIGNAL.
IGGY NODSAND WALKSTO THE DOORAS
PETRUTURNSAND EXITS LFG, SPEAKINGTO
SOMEO.S. TOURISTS.
PETRU
Im sorry, this exhibit (o~ is closing. Ill
130 178.8
haveto
ask you to leave.

IGGY STARTS TO PULL SOMESTANCHIONS
ACROSSTHE DOORWAY,CLOSING OFF THE
GALLERY, AS CAMERADOLLIES R AND
RACKSFOCUSTO REVEALDIMETRI IN FG,
SPEAKINGTO MOREO.S. TOURISTS.
DIMETRI
This exhibit is nowclosed. Please use the
131
182.12 186.12/ 4.0
DIMETRITO VISITORS)
Theexhibit is closed. Pleaseexit.
132
/187.4
PETRUTO VISITORS)
Our exhibit is nowclosed. Weare closed.
nearestexit.
187-00
SCENE23 - MFS - PETRUWALKSL THROUGH
THE GALLERY, USHERINGALL THE
TOURISTS OUT, AS CAMERADOLLIES WITH
HIM.
PETRU
Our exhibit is nowclosed. Weare closed for the
191.10/ 4.6
evening.
DIMETRI
(off) (overlapping)
Were closed. Right this way. Thankyou. We
are...
191-12
(2AB
- 57)
R/2AB P/7
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI-FINGLIST
SCENE24 - MS - DIMETRI USHERSMORE

TOURISTS R OUT OF THE GALLERY, CAMERA
DOLLYINGWITH HIM.
DIMETRI
...closing. Thankyou. Please exit through the
133
/192.0
195.4/
3.4
DIMETRI TO VISITORS)
Pleaseexit throughthe rear.
134
/209.4 212.4
3.0
PETRUTO VISITORS)
Thankyou. This way.
135
212.12
2.0
DIMETRITO VISITORS)
Thank you very much.
(Crownis about to enter the gallery)
rear.
195-05
ROOF- DAY - MS JANOS OPENS A DOORAND WALKS OUT
ONTOTHE ROOFAS CAMERADOLLIES IN ON
HIM. HE TURNSAND WALKSR AROUNDA
CORNER, CAMERAPANNINGWITH HIM TO
REVEALA LARGESKYLIGHT. HE HEADS
OVER TO THE SKYLIGHT AS CAMERA
FOLLOWSHIM. HE STARTS TO REMOVEHIS
BACKPACK.
203-05
SCENE26 - MCS- LOOKINGDOWNAT
JANOSS BACKPACKAS HE SETS IT DOWN
ON THE ROOF. JANOS THEN CROSSESR
THROUGHFRAME TO LEAN OVER THE
SKYLIGHT AS CAMERADOLLIES WITH HIM TO
REVEALA VIEW OF TOURISTSIN THE
GALLERYBELOW.DIMETRI IS USHERING
THEM OUT.
209-01
GALLERYDAY - MS - LOOKINGTHROUGHTHE CROWDS
OF TOURISTS MOVINGOUT OF THE GALLERY
TO PETRU USHERINGTHEM OUT.
PETRU
Thankyou. Right this way.
DIMETRI
(off) (overlapping)
Goodnight.
CAMERAPANS R, OFF PETRU, TO REVEAL
DIMETRI ALSO USHERINGOUT THE CROWD.
PETRU
(off) (contd)
(low) Im sorry. The exhibit is nowclosed.
have to please ask you to leave.
DIMETRI(overlapping)
Thankyou very much.
214.12
(2AB- 58)
R/2AB PI8
TITLE
NO.
MASTER
LIST
CROWNENTERSRFG, AND DIMETRI TURNS
TO HIM.
DIMETRI(contd)
(to Crown)Im sorry, sir, this exhibit is closed:217-15
136
215.4
217.14/ 2.10
DIMETRI TO CROWN)
Thisexhibit is closed,sir.
(Crownfrowns)
137
223.8
225.8
2.0
CROWNTO DIMETRI)
Whathave we got here?
(i.e., Whattime is it now?)
(Crownputs downhis briefcase and
checkshis watch)
138
227.12
229.14/
2.2
CROWNTO DIMETRI)
Its only 4:45.
(4:45 : 4:45 P.M.)
139
230.12
233.0
2.4
DIMETRI TO CROWN)
Weare closed.
140
233.12
236.0/
2.4
DIMETRI TO CROWN)
For cleaning.
(Crownexits the gallery and moves
downa hall - McKinleyapproaches)
SCENE28 - CS - PASTDIMETRI, TIPPEDIN

LFG, TO CROWNAS HE REACTS. CAMERA
TILTS DOWNTO HIS BRIEFCASEAS HE SETS
IT DOWNON THE FLOOR, THEN CAMERA
TILTS UP TO HIS WRISTWATCH
AS HE
CHECKSTHE TIME.
PETRU
(off)
(low) This way please. Thankyou very much.
Sorry,the exhibit is...
CROWN
(face off) (overlapping)
Whatve we got here?
225-12
SCENE29 - CS - PASTDIMETRI, TIPPEDIN
LFG, TO CROWNAS HE LOOKSUP FROMHIS
O.S. WATCH.
PETRU
(off)
...closed.
CROWN
(overlapping)
Hm,its only quarter to five.
229-15
SCENE30 - CS - PAST CROWN,TIPPED IN
RFG, TO DIMETRI.
DIMETRI
Weare closed. For cleaning.
PETRU
(off) (overlapping)
(low) Please exit this way. Weare now...
236-02
DOWNPAST DIMETRI, LFG, TO CROWNAS
HE NODS.
PETRU
(off)
(low) ..closed.
(2AB- 59)
R/2AB PI9
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"~INGLIST
CROWNTURNS AND STARTS WALKING RBG
OUT OF THE GALLERYWITH THE REST OF
THE CROWDAS CAMERAFOLLOWSHIM, OFF
DIMETRI.
243-t t
DAY - LS - CAMERAMOVESSLOWLYOVER
CENTRALPARK AS A HELICOPTERENTERS
RFG AND HEADS TOWARDTHE MUSEUM.
255-11
ROOF- DAY - MS JANOS, CROUCHING
BESIDE THE SKYLIGHT,
TAKES OUT SOME DETONATOR
WIRE.
260-09
SCENE34 - CS - JANOSS HANDATTACHES
SOMEPLASTIC EXPLOSIVETO THE END OF
THE DETONATOR
WIRE, THEN AFFIXES THE
EXPLOSIVETO THE SKYLIGHT.
263-01
SCENE36 - MS - LOOKINGDOWNA ROWOF
PLASTIC EXPLOSIVESON THE SKYLIGHT_TO
JANOSAS HE AFFIXES THE LAST ONE.
265-06
DAY - FS - CAMERAFOLLOWSTHE
HELICOPTERAS IT APPROACHES
THE
MUSEUM.
271-08
SCENE37 o EXT. MUSEUM
ROOF- DAY MFS - JANOSTAKES OUT A FLASHLIGHTAND
SIGNALSTHE O.S. HELICOPTER.
273-14
DAY - LS - HELICOPTERPOV- CAMERA
MOVES IN TOWARDTHE MUSEUMAS
JANOSS FLASHLIGHT SIGNALS FROMTHE
SKYLIGHTIN THE MIDDLEOF THE ROOF.
278-14
(2AB- 60)
"THE THOMASCROWNAFFAIR" R/2AB PI10

TITLE
NO.
MASTER
ENGLISH

GALLERIES- DAYMS - CROWNWALKS FG THROUGHTHE
CROWDSOF TOURIST IN ANOTHER
GALLERY, APPROACHING
O.S. MCKINLEY.
PEOPLE IN MUSEUM
CROWN
Hey, Bobby,Ive been...
141
279.10 283.6
(over scene end)
3.12
Hey, Bobby--Ive beenevicted.
(Bobby: diminutive nicknamefor,
Robert - see Title #30)
142
283.12
1.8
What do you mean?
143
285.10 289.6/
(over sceneend)
3.12
The Impressionist Gallery-closed for
cleaning.
(Impressionist : see Title #92)
(McKinley frowns in confusion)
282-06
SCENE40 o MS - PAST CROWNSTORSO,
RFG, TO PROCTORMCKINLEY AS HE COMES
DOWNA STAIRWAY.
CROWN
(face off)
...evicted.
MCKINLEYSTOPS, STARING AT CROWNIN
CONFUSION,AS CAMERADOLLIES IN ON HIM
SLIGHTLY, OFF CROWN.
PROCTORMCKINLEY
(chuckling) Whatdo you mean?
CROWN
(off)
TheImpressionist Gallery.
287-02
SCENE41 - MCS LOOKINGDOWNPAST
MCKINLEY, TIPPED IN LOWERLFG, TO
CROWN.
285.4
CROWN
Closedfor cleaning.
289-08
SCENE42 - MS - PAST CROWNSTORSO,
TIPPED IN RFG, TO MCKINLEYON THE
STAIRS.
PROCTORMCKINLEY
Cleaning?
CROWN
(face off)
Yeah.
292-01
(2AB- 61)
R/2ABPlll
TITLE
NO.
MASTER
LIST
SCENE43 - CS - CROWN
LOOKSLFG UP AT
O.S. MCKINLEY.
CROWN
Theyredoingit right now.
144
/292.4
294.12
2.8
145
297.12 302.12 5.0

(over sceneend)
295-01
Theyredoing it right now.
(i.e., Theyare cleaningthe gallery
right now.)
(McKinleysteps over to Proctor #3)
SCENE44 - MS - PAST CROWNSTORSO,

RFG, TO MCKINLEYON THE STAIRS. HE
PAUSES A MOMENT,CONFUSED,THEN
MOVESDOWNTO THE BOTTOMOF THE
STAIRS, SIGNALLINGTO ANOTHER
O.S.
PROCTOR.
PROCTORMCKINLEY
Ed, uh, wanna...
300-02
SCENE45 - MCS- LOOKINGDOWNPAST
MCKINLEY, WHOEXITS LOWERLFG, TO
CROWNAS HE GLANCESBACK AT ANOTHER
PROCTOR
[#3] WHOIS STANDINGBEHIND
HIM.
PROCTOR
MCKINLEY(off)
...lend mea handhere for a minute?
PROCTORMCKINLEY TO PROCTOR#3)
Ed, you want to lend mea handfor a
minute?
(lend mea hand: colloquial for, give
mesomeassistance)
(meanwhile,Petru and the others have
cleared everyoneout of the gallery Janos has.movedup to the roof and is
planting explosivesaroundthe skylight
over the gallery - a helicopter then
approachesand hovers overheadbefore anything further can be done,
McKinley and two other Proctors enter
the gallery - they approachIggy)
PROCTOR#3
Certainly.
PROCTOR
#3 FOLLOWSO.S. MCKINLEY,
EXITING L. CROWNWAITS FOR THEMTO
GO, THENTURNSAND EXITS R.
308-07
GALLERYDAY - FS - LOOKINGACROSSTHE NOWDESERTEDGALLERYTO DIMETRI, WHOIS
STANDING AT THE DOORWAY
WHERETHE
STANCHIONSHAVE BEEN POSITIONED.
CROWDSOF TOURISTS ARE MOVING
THROUGHA HALLWAYOUTSIDE THE DOOR
IN BG. DIMETRI TURNSFG AND MAKESA
SIGNAL, THEN CAMERAQUICKLY ZOOMS
OUTAND SWISHPANSR, OFF HIM, TO
REVEAL PETRUAT THE OTHEREND OF THE
GALLERY. CAMERAHOLDS ON PETRU IN
LOWANGLE MCSAS HE LOOKSUP AT THE
CEILING, THEN CAMERA
TILTS DOWNTO HIS
HANDAS HE RAISES A WALKIE-TALKIE TO
HIS LIPS.
PETRU
(into walkie-talkie)
(2AB- 62)
R/2ABPI12
TITLE
NO.
LIST
PETRUWALKSLBG TO THE MIDDLE OF THE
GALLERY, CAMERAPANNINGWITH HIM TO
INCLUDE IGGY. CAMERAHOLDSIN MS PAST
IGGY, RFG, TO PETRUAS HE FINISHES
TALKINGON THE WALKIE-TALKIE, ANDTILTS
UP SLIGHTLY TO REVEALTHE SKYLIGHT
ABOVETHEIR HEADS.
PROCTOR
MCKINLEY(off)
Excuse me.
i46
330.4
332.8
2.4
PROCTORMCKINLEYTO IGGY)
Excuse me.
147
334.6
336.6/
2.0
PROCTORMCKINLEYTO IGGY)
Whatare you doing?
(Iggy looks completelyconfused)
148
338.12 340.41
1.8
IGGY TO PROCTORMCKINLEY)
Yes.
(note that Iggy doesnt speakEnglish
and doesnt knowwhat McKinley has
asked him)
(Petru steps over)
149
343.0 350.8
(over sceneend)
7.8
PETRU TO PROCTORMCKINLEY)
Upstairs sent us to clear this exhibit. They
have someVIPs coming through.
(Upstairs : i.e., The administrators
upstairs)
(VIPs: initials for, Very Important
Persons, referring to personsof great
influence or prestige)
CAMERARACKS FOCUS FROM PETRU TO

IGGY AS THEY BOTHTURNRFGTO OoS.
MCKINLEY.
333-00
SCENE47 - MS - PASTIGGY, LFG, TO
MCKINLEYAND TVVO OTHERPROCTORSAS
THEY ENTERTHE MAIN GALLERY.
PROCTORMCKINLEY
VVhatdo you think youre doing?
336-06
SCENE48 - MCS- IGGY STARESRFGAT O.S.
MCKINLEY, NOT UNDERSTANDING
ENGLISH,
THEN ANSWERSNERVOUSLY.PETRU IS
STANDINGWITH HIS BACK TO CAMERAIN
BG.
IGGY
Yes.
340-05
SCENE49 - MCS- MCKINLEYLOOKSLFG AT
O.S. IGGY IN BEWILDERMENT.
THE TVVO
OTHERPROCTORSARE STANDING BEHIND
HIM.
PROCTORMCKINLEY
VVhat?
PETRU(off)
Upstairs sent us downto clea-...
345-00
(2AB- 63)

TITLE
NO.
MASTER
LIST
SCENE50 - MS - PASTIGGY, RFG, TO PETRU

AS HE WALKSUP TO JOIN IGGY IN TALKING
WITH O.S. MCKINLEY.
PETRU
...-r this exhibit. Theyvegot someV.I.P.s
comingthrough.
350-15
MCKINLEY AND THE TWOOTHER PROCTORS.
PROCTORMCKINLEY
I didnt hearaboutit. I overseethis section.
355-00
150
/351.0
354.121 3.12
PROCTORMCKINLEY TO PETRU)
I wasnttold. I overseethis section.
151
356.0 . 359.0
3.0
PETRU TO PROCTORMCKINLEY)
Call upstairsif youlike.
(out of the cerner of his eye, McKinley
seesthe shadowof the helicopters
propeller on the floor - he glancesup
andsees the helicopter hovering over
the skylight)
152
363.12
5.12
PROCTORMCKINLEY TO PETRU)
Youre right. People have beencoming
here all week.
(here : into this gallery)
(McKinleyturns to go, then presses
button on his stun baton so that it
extends- out in the corridor, Crown
has sat downon a bench when
suddenly the three Eastern Europeans
comerunning out of the gallery)
SCENE52 - MS - PETRUAND IGGY STARE

RFGAT O.S. MCKINLEY.
PETRU.
Call upstairsif youlike.
360-01
MCKINLEY AND THE TWO OTHER PROCTORS
AS MCKINLEYSHAKESHIS HEADAND
SMILES.
PROCTORMCKINLEY
No, no, youre right. Theyve beenhaving people.
downhere all week.
MCKINLEY STARTS TO TURN AROUNDAND
GLANCESDOWN.
369-10
369.8/
SCENE64 - CS - SLOWMOTION- MCKINLEY

GLANCESDOWNLFG AT THE O.S. FLOORAS
HE TURNSTO LEAVE WITH THE OTHERTWO
PROCTORS.
372-15
SCENE55 - MFS- SLOWMOTIONMCKINLEYS POV - LOOKINGBETWEEN
THE
TORSOSOF PETRU AND IGGY TO THE
EMPTYGALLERYAS DIMETRI RUNSLFG
THROUGHIT. CAMERATILTS DOWNTO
REVEAL THE SHADOWOF THE HELICOPTER
BLADES ON THE FLOOR.
377-06
(2AB- 64)
R/2AB PI14
TITLE
NO.
MASTER
SCENE56 ~ CS - SLOWMOTION- MCKINLEY

LOOKSUP TOWARD
THE O.S. SKYLIGHT.
379-10
SCENE57 - MFS- MCKINLEYSPOVCAMERA.TILTSUP TO THE SKYLIGHT,
THROUGHWHICH THE HELICOPTER CAN BE
SEEN MOVINGINTO PLACE.
382-15
SCENE58 - CS - SLOWMOTION- MCKINLEY
COMPLETESHIS TURN, LOOKING AWAY
FROMTHE O.S. SKYLIGHT.
384-08
SCENE59 - MS - LOOKINGAT THE LEGSOF
MCKINLEY AND THE OTHER TWO PROCTORS
AS MCKINLEY SUDDENLYPULLS OUT A STUN
BATONAND TURNSTO FACE THE O.S.
THIEVESAGAIN. .
387-06
HALLWAY
- DAY MFS - LOOKINGDOWNTHE BUSY HALLWAY
AS PETRU AND IGGY SUDDENLYCOME
RUNNINGOUT OF THE MAIN GALLERY, R.
PROCTORS
& THIEVES(oft)
(indistinct, overlappingshouts)
PETRUAND IGGY RUN LFG DOWNTHE HALL,
PUSHINGTHEIR WAY. PAST TOURISTS, AS
CAMERAPULLS BACK AND PANS R SLIGHTLY
TO REVEAL CROWNSITTING CALMLYON A
BENCH, READING THE NEWSPAPER.
PEOPLE IN MUSEUM
(lowandindistinct excited chatter - continues
under following scenesand dialogue)
CAMERAHOLDS ON CROWNIN MS AS HE
WATCHESPETRU AND IGGY EXIT LFG AND
SHRUGS. DIMETRI THEN COMESRUNNING
OUT OF THE MAIN GALLERYIN BG,
FOLLOWEDBY MCKINLEY AND THE OTHER
TWO PROCTORS.
PROCTOR
MCKINLEY(off)
Stop him!
DIMETRI STARTS RUNNINGPAST CROWNAS
MCKINLEYPURSUESHIM.
400-03
153
398.8
400.21
1.10
PROCTORMCKINLEY TO GROUP)
Stop him!
(him : referring to one of the Eastern
Europeans
- Crownsticks out his foot
andtrips Dimetri - McKinleyand the
other Proctors comerunning out)
(2AB- 65)

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLF-JSPOI"TING
LIST

PUTSHIS FOOT
OUTANDTRIPS DIMETRI.
402-00
SCENE62 - FS - DIMETRIFALLS TO THE
FLOOR, CAMERATILTING DOWNWITH HIM,
OFF CROWN,AS TOURISTSSTEP ASIDE.
DIMETRI
(grunts)
404-13
SCENE63 - MS - DIMETRI QUICKLY

SCRAMBLES
TO HIS FEET AND TRIES TO
RUNAWAY, CAMERA
TILTING UP WITH HIM.
DIMETRI
(shouts in Eastern Europeanlanguage)
154
PROCTOR
MCKINLEY(off)
Lookout, Mister...
407-12
SCENE64 - MS - PASTDIMETRI, LFG, TO
MCKINLEY AS HE PUSHESPAST CROWN
(WHOIS NOWSTANDING), FOLLOWED
THE OTHER TWO PROCTORS.
PROCTORMCKINLEY
.Crown.
MCKINLEYATTACKSDIMETRI WITH THE
STUN BATON, AND DIMETRI STARTSTO
FALL.
DIMETRI
(yells, grunts and shouts in Eastern European
language- continues under following scenesand
dialogue)
411-14
406.14 409.4
(over sceneend)
2.6
Look out, Mr. Crown.
(Look out : Be careful)
(the two Proctors run past Crownand
leap on Dimetri - McKinleyuses his
baton to hit an alarmbutton on the wall
- large steel gates start to drop down
from all the doorways
of the gallery visitors in the corridors start to move
about in a panic - Crownusesthe
confusionto roll underoneof the
descendinggates - he hurries to the
Monetandpulls it off the wall, yanking
it out of the frame- he reachesunder
the benchhe sat on that morningand
pulls his briefcase out from underit [he
left it there that morning]- he folds the
painting in half andsticks it into the
briefcase, then hurries to another
doorway- the secondbriefcase he
brought from work and put downon the
floor whenchecking the time was
positioned directly underthe gate and
is nowpreventingit from closing Crownslips under the openingin the
gate andquickly joins the throng of
museum
visitors as proctors usher
themout of the museum
in single file)
(2AB- 66)
"THE THOMAS
CROWN
AFFAIR"
R/2AB PI16
COMBINED
TITLE
NO.
MASTER

DOWN~
PAST MCKINLEY,RFG, TO DIMETRI,
WHOFALLS TO THE FLOORAS THE OTHER
TWOPROCTORS
CLIMB ON TOP OF HIM.
PROCTOR#2
Stay down, stay down.
PROCTOR
#3 (overlapping)
(indistinct o continuesunderfollowing scenesand
dialogue)
MCKINLEYSTEPS BACK, CAMERATILTING
DOWNWITH HIM, OFF DIMETRI AND THE
OTHERPROCTORS.HE RAMSHIS STUN GUN
L AT AN EMERGENCY
ALARMBOX, BREAKING
THE GLASS, AS CAMERA
PANSWITH IT.
416-08
GALLERYDAY- CS - AN ELECTRICEYE STARTSTO.
BLINK IN THE SIDE OF A DOORWAY
AS AN
ALARMSOUNDS. CAMERATILTS UP TO
REVEALA HEAVYMETAL GATE STARTING TO
COMEDOWNFROMTHE CEILING.
422-02
SCENE67 - MS - THE METALGATESLOWLY
DESCENDSIN THE DOORWAY
AS CAMERA
PULLS BACK.
424-1
SCENE68 - MCS- LOOKINGUP AT THE
BOTTOMOF THE METALGATE AS IT
DESCENDS.
4:26-t0
SCENE69 o INT. MUSEUM
HALLWAY
- DAY MS - LOOKINGOVERTHE HEADSOF THE
TOURISTS CROWDED
IN THE HALLWAYAS
PROCTORS.PUSH THEIR WAY THROUGH.
CROWNNONCHALANTLYSTEPS TO THE
BACK OF THE CROWD,APPROACHINGTHE
DESCENDINGGATE OF THE MAIN GALLERY,
AS CAMERASLOWLYZOOMSIN ON HIM.
THEN ALL OF A SUDDEN, HE THROWS
HIMSELF DOWNOUT OF FRAME ONTOTHE
O.S. FLOOR.
431-11
(2AB- 67)

TITLE
NO.
MASTERENGLISHSUBTITLE/SPOTtINGLIST

GALLERYDAY o MCS- CROWN
QUICKLY ROLLS
ACROSSTHE FLOORUNDERTHE O.S. GATE,
MOVING THROUGHTHE DOORWAY
INTO THE
GALLERY.
433-10
STARTSTO GET
UP AS THE METAL GATE SUDDENLYCOMES
TO A STOP ABOUTA FOOT ABOVETHE
FLOORBEHIND HIM.
435-10
SCENE72 MFS - CROWN
STANDSUP AND
RUNS RBG ACROSSTHE DESERTEDMAIN
GALLERYINTO THE EQUALLY DESERTED
IMPRESSIONISTGALLERY,PUTTING ON A
PAIR OF WHITE GLOVES, AS CAMERA
FOLLOWSHIM. HE HEADSSTRAIGHT FOR
MONETS "SANGIORGIO MAGGIORO"AND
YANKSIT OFF THE WALL.
446-08
SCENE73 : INT. MUSEUM/IMPRESSIONIST
GALLERY- DAY - MS - CROWN
RIPS THE
PAINTING OUT OF ITS FRAMEAND HURRIES
L TO A BENCHAS CAMERAPANS WITH THE
PAINTING IN HIS HAND.HE TAKESA
BRIEFCASE OUT FROMUNDERTHE BENCH
(THE BRIEFCASEHE LEFT THEREAT THEBEGINNINGOF THE FILM) AND PLACESIT ON
THE BENCH.
451-14
TILTS DOWN
FROMCROWNSFACE TO THE BRIEFCASE
AS HE OPENSIT UP TO REVEALTHAT,
INSIDE, IT IS ACTUALLY
A STEELCARRYING
CASE. HE PLACESTHE PAINTING INSIDE
THE CASE.
456-07
SCENE75 - CS - CROWNLOOKSDOWN
INTENTLY AS HE GOESABOUTHIS WORK.
457-13
DOWNAT CROWNHUNCHEDOVER THE
BENCHAS HE STARTS TO CLOSETHE CASE
ON THE PAINTING.
459-07
(ZAB- 68)
"THE THOMASCROWN
AFFAIR"
R/2AB PI18
TITLE
NO,
MASTER
ENGLISHSUBTITLF.JSPOI"FING
LIST
SCENE77 - MCS- LOWANGLE- CROWN

QUICKLYSHUTSTHE O.S. BRIEFCASE, THEN
CAMERATILTS DOWNFROMHIS FACE TO
THE BRIEFCASE AS HE TURNSTO RUN AWAY
FROM THE BENCH. CAMERAFOLLOWSTHE
BRIEFCASEIN HIS HANDAS HE RUNSRBG
OUT OF THE IMPRESSIONIST GALLERYAND
ACROSSTHE MAIN GALLERYTO THE METAL
GATE,WHICHIS STILL PARTIALLYOPEN..
TOURISTS CAN BE SEEN BEHIND USHEREDTHROUGHTHE HALLWAY ON THE OTHER
SIDE OF THE GATE.
PROCTOR
#4 (off)
Oneat a time. Quickly. Youll needto take all
154A 479.2
481.14/ 2.12
154E 482.8
490.0/
children by their hands. Keepcoming.
PROCTOR#4 TO MUSEUMVISITORS)
Oneat a time. Keepmoving.
(Oneat a time : meaningthat the
visitors must leave the museum
in a
single line)
CROWNLIES DOWNON THE FLOOR AND

SLIDES OUT UNDERTHE GATE WITH THE
BRIEFCASE, THEN GETS UP AND JOINS THE
FLOWOF TOURISTS EXITING R. CAMERA
PANS SLIGHTLY L TO REVEALTHAT
CROWNSOTHERBRIEFCASE(THE ONE HE
LEFT WHENTALKINGTO DIMETRI) IS
POSITIONED
L IN THE DOORWAY
-o ITS
WHATIS KEEPING THE METAL GATE FROM
CLOSING COMPLETELY.
PROCTOR
#4 (off) (contd)
Keepto your left, please. To your left. Please.
Just one at a time. Keepmoving.
PROCTOR
(indistinctly to:) No crowding,please. (continues
low andindistinct)
481-15
HALLWAY
- DAY MS - LOOKINGAT THE BRIEFCASEIN
CROWNSHAND AS HE WALKSBG WITH THE
REST OF THE TOURISTS. CAMERACRANES
UP INTO FS OF THE HALLWAY,REVEALING
FEMALEPROCTOR#4 AT THE END OF THE
HALL AS SHE USHERSCROWNOUT WITH
THE REST OF THE TOURISTS.
PROCTOR#4
Keepmoving. Movein a calm manner, please.
Keep moving. No need to panic. Thank you.
Keep moving.
490-01
7.8
PROCTOR#4 TO MUSEUMVISITORS)
Movein a calm manner, please. No need
to panic. Keepmoving.
(meanwhile, elsewherein the museum,
Petru and Iggy go running downa
corridor whena Museum
Security
Guardcomesat them from the
oppositedirection, gun pointed)
(2AB- 69)

TITLE
NO.
MASTER
LIST
SCENE79 o INT. MUSEUM/EGYPTIAN

WINGDAY - MFS- HIGH ANGLE- IGGY ANDPETRU
FRANTICALLYRUN LFG INTO THE EGYPTIAN
WING, CRASHINGINTO A MANAND
ACCIDENTALLYKNOCKINGHIM DOWN.
MANIN EGYPTIANEXHIBIT
(grunts)
PETRU AND IGGY CONTINUERUNNINGL
PAST THE MAN.
494-05
SCENE80 - MS - A SECURITYGUARD
SUDDENLYENTERS L AND GRABSPETRU,
SHOVINGHIM L AGAINST THE WALL. IGGY
KEEPSRUNNINGL PAST THEM.
PETRU& IGGY
(yell andgrunt)
CAMERAPANS WITH IGGY, OFF PETRUAND
THE SECURITY GUARD, TO REVEAL
SECURITY GUARD#3 BLOCKINGHIS WAY,
POINTINGA PISTOLAT HIM.
MUSEUM
Holdit! (face off) Right there.
155
495.8
498.8
156
502.12 504.8
3.0
IGGY STOPS AND RAISES HIS HANDSABOVE

HIS HEADAS CAMERA
TILTS UP, OFF HIM, TO
HOLDON THE GUARD.
499-04
SECURITYGUARD#3 TO PETRU&
IGGY)
Holdit right there!
(Hold it : Stop)
(other Security Guardsfind Janoson
the roof)

ROOF- DAY MCS - SEVERAL ARMEDSECURITY GUARDS
BURST OUT THE DOORAND RUN R AROUND
A CORNER, CAMERAPANNING WITH THEM
TO REVEAL JANOS CROUCHED
BESIDE THE
SKYLIGHT. THE GUARDSSTOP AND AIM
THEIR GUNSAT HIM.
Freeze! Get your hands up!
CAMERAHOLDSIN FS PAST THE GUARDSTO
JANOSAS HE RAISES HIS HANDSAND
SLOWLYSTARTS TO STAND UP.
509-02
SCENE82 - FS - LOWANGLE LOOKINGUP
AT THE HELICOPTERAS IT TURNSAROUND
AND STARTSTO FLY AWAY.
5i4-02
156l 505.10
507.8
1.12
1.14
SECURITYGUARD#4 TO JANOS)
Freeze!
(i.e., Stop andstay whereyou are!)
SECURITYGUARD#4 TO JANOS)
Handsup!
(i.e., Raise your handsaboveyour
head!)
(Crownexits the museum
and hails
cab)
(2AB- 70)
R/2AB PI20
TITLE
NO.
MASTER
LIST
SCENE83 - EXT. FRONTOF MUSEUM

- DAY MS - CROWN
TROTS L DOWNTHE MAIN
STEPS, WHICH ARE CROWDED
WITH
TOURISTS, AS CAMERA
PANSWITH. HIM.
SEVERALCOPS AND GUARDSRUN R UP THE
STEPS PAST HIM. HE REACHESTHE
SIDEWALKAND HURRIESTO THE CURBAS.
CAMERAFOLLOWSHIM IN MS.
CROWN
(whistlesfor taxi)
A TAXI ENTERSL ANDPULLS TO A STOPAT
THE CURBIN FRONTOF CROWN.
NINASIMONE
(voice over) (singing)
Oh, yeah!
CROWN
GETS IN THE TAXI AS CAMERA
MOVES
IN ON IT.
CROWN
Sixty-eighth and Lexington.
157
534.8
158
573.6
537.8
30
CROWNSHUTS THE DOORBEHIND HIM AS

CAMERAHOLDS.
NINASIMONE
(voice over) (singing)
Oh, yeah! (echoesinto following scene)
538-06
CROWNTO CAB DRIVER)

Sixty-eighth and Lexington.
(meaningthat he wants to go to the
corner of Sixty-eighth Street and
Lexington Avenue)
(the cab takes Crownto his elegant
townhouse- Crownenters, and is
greeted by his houseman,Paul)
SCENE84 - EXT. CROWNSTOWNHOUSE

NIGHT- MLS- HIGH ANGLE- CAMERA
TILTS
DOWNTHE FRONT OF CROWNS
TOWNHOUSE
TO REVEAL THE TAXI PULLING
TO A STOP AT THE CURB. CROWNGETS
OUT AND WALKSTO HIS BUILDING. HE
OPENSTHE FRONT DOOR.
559-10
SCENE85 - INT. CROWNSTOWNHOUSE/
FOYER- NIGHT - FS - LOOKINGACROSSTHE
FOYER TO CROWNAS HE ENTERS THROUGH
THE FRONTDOORAND SHUTSIT BEHIND
HIM. HIS HOUSEMAN,PAULCHENG,ENTERS
LFG AND APPROACHES
HIM.
PAUL
Goodevening, sir.
CROWN
Hey, Paul.
575.10 2.4
PAUL TO CROWN)
Goodevening, sir.
(Crownhands Paul his briefcase)
576-12
(2AB- 71)
"THE THOMAS
CROWN
AFFAIR"
R/2AB PI21
TITLE
NO.
LIST
SCENE86 - MFS - PAST CROWNSTORSO,

TIPPED IN LFG, TO PAULAS HE
APPROACHES,CAMERAPANNING WITH HIM.
159 /577.0
CROWN
(face off)
Wanna
put this in the study?
579.8
2.8
CROWNTO PAUL)
Put this in the study.
(this : this briefcase)
CROWN
HOLDSTHE BRIEFCASEUP TO PAUL,
WHOTAKESIT.
PAUL
I set out a bottle of wine.
160
580.0
582.12 2.12
PAUL TO CROWN)
I set out a bottle of wine.
(Crownlooks through his mail)
161
585.0
587.12 2.12
CROWN
TO PAUL) (wryly)
I mayhave wona cruise.
(meaningthat Crownreceived a piece
of junk mail , claimingthat he had
wona cruise [note that these types of
prizes are rarely real andare merely
used as inducementsfor consumersto
purchase something the companyis
offering])
(Crownenters the study and shuts the
door, then takes the Monetout of his
briefcase - he pressesa button on a
panelanda part of the wall lifts up,
revealing an indentation for the
Monet- Crownputs the Monetinto the
indentation, then sits downandpours
himself a glass of wine - he toasts the
painting)
CROWN
(face off)
Thankyou. (chuckles)
PAUL EXITS R WITH THE BRIEFCASEAS
CROWNSHANDS START GOING THROUGH
HIS MAIL.
584,01
FOYER TO CROWNAS HE LOOKS THROUGH
HIS MAIL.
CROWN
I mayhave wona cruise.
588-05
STUDY- LATER - FS o LOOKINGACROSSTHE
DARKENEDSTUDY AND OUT THE OPEN
DOORTO CROWNAS HE WALKS DOWNA
HALL TOWARD
IT, POURINGHIMSELF A
GLASSOF WINE. CAMERADOLLIES R. HE
SWITCHESON THE STUDYLIGHT AND
ENTERSTHE ROOM,REMOVINGHIS TIE, AS
CAMERA
PANS L WITH HIM, PAST A
MAGRITTEPAINTING ABOVETHE FIREPLACE,
TO REVEALHIS BRIEFCASEWAITING ON HIS
DESK. CAMERAHOLDS AS HE STOPS
BEHINDHIS DESKAND TAKESA SIP OF
WINE, THEN OPENSTHE BRIEFCASEAND
LOOKSDOWNAT THE PAINTING INSIDE.
628-02
LOOKSDOWNR
AT THE O.S. PAINTINGANDGRINS.
634-11
(2AB- 72)
R/2AB PI22
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOrFINGLIST
SCENE90 - MCS - CROWNSHANDREACHES

UNDERTHE EDGEOF THE DESK AND FLIPS A
SWITCH, THEN CAMERATILTS UP AND PANS
R ACROSSTHE ROOMTO REVEAL THE
MAGRITTEPAINTING RISING UP OUT OF
VIEW ABOVETHE FIREPLACE, EXPOSINGA
SECTIONOF BRICK WALL.
643-01
SCENE91 - MFS - CROWN
CARRIES THE
MONETPAINTING RFG FROMTHE DESK TO
THE EXPOSEDSECTIONOF BRICK WALL AS
CAMERAPANS WITH HIM INTO MCS. HE
HANGSTHE PAINTING, THEN STEPS BACK L
OUT OF FRAME AS CAMERASLOWLY MOVES
IN ONIT.
664-09
SCENE92 - MS o CROWN,NOWSEATED
BEHINDHIS DESK, RAISES HIS GLASSOF
WINE TO THE O.S. PAINTING ANDLAUGHSAS
CAMERASLOWLYMOVESIN ON HIM.
CROWN
(chuckles) Oh, yes.
162
670.12
672.14/ 2.2
CROWN)(smiling)
Oh, yes.
163
682.0
684.0
PARETTI TO MCCANN)
Mikey.
(diminutive nickname
for, Michael.)
(it is nownight - the museum
is filled
with both police andofficials - NYPD
Detective Michael McCann
enters and
his partner, Paretti, goesover to him)
673-01
SCENE93 - MS -.CAMERAZOOMSIN ON THE
MONETPAINTING.
679-03
LOBBY- NIGHT- FS
- LOOKINGACROSSTHE LOBBY TO SMALL
CLUSTERSOF DETECTIVES AND MUSEUM
OFFICIALS TALKINGIN THE CORNER.IT IS
AFTER HOURS.
PEOPLE IN MUSEUM
ONE OF THE POLICE, A DETECTIVENAMED
PARETTI, LOOKSLFG ANDSEESHIS O.S.
PARTNER.
PARETTI
(calling out) Mikey.
PARETTI STARTS RUNNINGLFG ACROSS
THE LOBBY.
684-t4
2.0
(2AB- 73)
R/2AB PI23
i TITLE
NO.
MASTER
LIST
SCENE95 - MFS- PARETTIS PARTNER,

MICHAELMCCANN,HAS JUST ENTEREDTHE
BUILDING, AND HE WALKSLFG ACROSSTHE
LOBBY WITH A STYROFOAM
CUP OF COFFEE
AS CAMERADOLLIES BACK WITH HIM.
MCCANN
Hey. They find the chopper?
164
/685.0
689.0
4.0
MCCANNTO PARETTI, THEN

PARETTI TO MCCANN)
-They find the chopper?
-Abandonedin Queens.
(They : The police)
(chopper: slang for, helicopter)
(Queens: largest of the five boroughs
of NewYork City)
165
689.6
695.6
6.0

PARETTI TO MCCANN)
-Weknowwhere it was stolen?
-Probably somepad in the Hamptons.
(it : the helicopter)
(pad : area used for helicopter
takeoffs andlandings)
(Hamptons: referring to towns in
Suffolk county, on LongIsland, which
are fashionable summerresorts)
(Paretti notices Lenox,the Director of
the museum,approaching with a group
of officials - trailing behindthe groupis
Catherine Banning, an insurance
investigator)
166
695.12
702.12
7.0
PARETTI TO LENOX, THEN TO MCCANN)

Mr. Lenox.Mr. Lenoxis the Director of the
Museum.
167
703.12
707.4
3.8
PARETTI TO LENOX)
This is Detective Michael McCann.
PARETTI ENTERSR AND WALKSALONGSIDE

MCCANNAS CAMERACONTINUES MOVING
BACK WITH THEM.
PARETTI
Abandonedin Queens.
MCCANN
Weknowwhere it was stolen?
PARETTI
Checking.Probably off of someguys pad in the
Hamptons.
MCCANN
Yeah.
PARETTI TURNSAND SIGNALS R AS THEY
ENTER THE MAIN HALLWAYJUST OFF THE
LOBBY.
PARETTI
(calling) Uh, Mister Lenox.
MCCANNAND PARETTI STOP IN THE
HALLWAYAS CAMERAPANS R TO REVEAL
MUSEUMDIRECTOR LENOX RUNNINGUP TO
THEM FROM BG. THERE ARE SEVERAL
OTHERCLUSTERSOF MUSEUMOFFICIALS
TALKINGIN THE HALL.
PARETTI(contd)
(to McCann)
Mister Lenoxis the Director of the
Museum.
MCCANN
Yeah?
CAMERAHOLDSAS SEVERALOFFICIALS
JOIN LENOXIN APPROACHING
PARETTI AND
MCCANN.
PARETTI
This is Detective Michael McCann.
(2AB- 74)
"THE THOMAS
CROWN
AFFAIR"
R/2AB P124
TITLE
NO.
MASTER
MCCANN
(overlapping)
(grunts) Uh, mm,sorry to be here, sir. (sharp
168
707.12
710.4
2.8
MCCANNTO LENOX)
Im sorry to behere, sir.
(meaningthat he wishes the robbery
hadnt happened)
169
712.0
713.12
1.12
MCCANNTO PARETTI)
Whoare the actors?
(the actors : i.e., the suspects)
170
714.2
719.12
5.10
PARETTI TO MCCANN)
Four. Eastern European.No print records.
(print records: i.e., records of their
fingerprints in any police databases)
171
720.4
724.14
4.10
MCCANNTO PARETTI)
Checkwith Interpol. The Russian
governmentmayhelp.
(Interpol : short for, International
Criminal Police Organization, an
organizationthat exists to facilitate the
cooperationof the criminal police
forces of morethan 125countries)
172
725.4
730.4
5.0
PARETTI TO MCCANN)
Theycamein a hollow statue delivered this
morning.
(They : The suspects)
173
730.12
733.14
3.2
PARETTI TO MCCANN)
Their ownsecurity broughtit in.
(Their : The museums)
(broughtit in : brought the statue into
the museum)
174
734.4
737.0
2.12
MCCANNTO PARETTI)
Nextyoull say it wasa horse.
(it : the statue)
(Paretti nods)
intake of breath)
MCCANNSHAKESLENOXS HAND, THEN THE
GROUPMOVESFG DOWNTHE HALL,
CAMERADOLLYING BACK WITH THEM IN
MCS.
MCCANN
(contd)
(to Paretti) VVhoare the actors?
PARETTI
Four. All foreign. Probably Eastern European.
Noprint records.
CAMERAPULLS BACK FASTERSO THAT IT IS
DOLLYINGBACK WITH THE GROUPIN MS.
MCCANN
Yeah?(licks coffee off flnger) Illegals. Check
with Interpol. Russian governmentmight help.
PARETTI
In the works. Point of entry wasa hollow statue
delivered this morning.Theybrought it inthrough their ownsecurity.
MCCANN
Next youre gonnatell meit wasa horse.
PARETTI
Mm-hm.
MCCANN
(overlapping)
(licks finger)
MCCANNLOOKSAT PARETTI IN DISBELIEF.
738-14
(2AB- 75)
., "THE THOMAS
CROWN
AFFAIR"
R/2AB PI25
SCENE96 - MCS- PAST PARETTI, RFG, TO
MCCANNAS THEY WALK L THROUGHTHE
HALL, CAMERADOLLYINGWITH THEM.
TITLE
NO.
MASTER
ENGLISH
SUBTITLF.JSPOI-rlNG
LIST
175
1739.0
741.0
2.0

PARETTI TO MCCANN)
-A Trojan horse?
-Bingo.
(Trojan horse : huge, hollow, wooden
horse constructed by the Greeksto
gain entranceinto Troy during the
Trojan War- warriors hid inside the
horse and whenit wastaken inside the
walls of Troy, they emerged
from it and
openedthe citys gates to the Greek
army- meaningthat the thieves used
the horse statue in the samewaythat
the Greeksused the Trojan horse also possibly meaningthat the statue
wasmeantto be a likeness of the
Trojan horse)
(Bingo: colloquial interjection
denoting suddensuccessor a correct
answerto a question)
176
741.6
743.0
1.10
MCCANNTO PARETTI)
Someone
has a sense of humor.
(Someone
: referring to the person
whoorchestrated the robbery)
177
743.4
745.14 2.10
PARETTI TO MCCANN)
Wehave3 digits of the truck plate.
(have : know)
(plate : license plate - metal plate
attached to a truck or automobile
containing a registration number)
178
746.2
747.10/
1.8
MCCANNTO PARETTI)
They beenhit before?
(i.e., Has thi~ museum
beenrobbed
before?)
179
749.0
751.8/
2.8
PARETTI TO MCCANN)
Theyjust lost their cherry.
(cherry: slangfor, virginity)
(meaning that the museum
had never
beenrobbed before)
SCENE99 - MS - MCCANNSPOV- LOOKING

BACK THROUGHTHE MOVING CROWDOF
MUSEUMOFFICIALS TO AN EXPENSIVELY
DRESSEDINSURANCEINVESTIGATOR
NAMEDCATHERINE BANNINGFOLLOWINGIN
THE REAR.
180
751.14
755.21
3.4
MCCANNTO LENOX)
Wasit just the onepainting?
(it : what wastaken)
LENOX
(off)
Oh, but its suchan important one. Its a, a
181
1755.8
761.0/
5.8
LENOX TO MCCANN)
But its suchan importantone. Its a
seminal work.
(it : the stolen painting)
(seminal: contributing to later
development)
MCCANN
A Trojan horse?
PARETTI
Bingo.
MCCANN
(overlapping)
Somebodysgot a sense of humor.
PARETTI
Wegot three digits of the truck plate.
MCCANN
This place beenhit before?
747-10
SCENE97 - CS - PARETTIWALKSR,
GLANCINGLFG AT O.S. MCCANN,AS
CAMERADOLLIES WITH HIM. LENOXIS
WALKINGALONGSIDEPARETTI IN BG.
PARETTI
(chuckles) Theyjust lost their cherry.
751-09
SCENE98 - CS - PASTPARETTI, RFG, TO
MCCANNAS THEY WALK L THROUGHTHE
HALL, CAMERADOLLYING
WITH THEM.
MCCANN
MisterLenox, lgatheritwasjusttheone
painting?
MCCANNGLANCESBACK OVER HIS
SHOULDER.
755-05
seminalwork, a historic-...
761-02
(2AB- 76)

COMBINED
TITLE
NO.
LIST
SCENE100 - MCS- PASTPARETTI, LFG, TO

LENOX AS THEY WALK R THROUGHTHE
HALL, CAMERADOLLYINGWITH THEM.
LENOX
...-al watershed.Its truly irreplaceable.
182
/761.6
763.141 2.8
LENOX TO MCCANN)
Its truly irreplaceable.
(McCannglances over to Catherine,
whois wearing an extremely expensive
outfit)
183
/764.4
768.6/
4.2
MCCANNTO PARETTI)
Great neighborhood. Broads here wear my
salary.
(Great neighborhood: referring to the
Upper East Side of NewYork, where
the museum
is located - note that this
is an area where manywealthy people
live - note that McCann
meansthis
with sarcastic contempt)
(Broads : slang for, Women)
(Broads...salary : sardonically
meaningthat the womenon the Upper
East Side wearoutfits that cost more
than McCanns
yearly salary o note that
he is referring to Catherinesoutfit)
(they enter the gallery)
184
768.12
771.2
2.6
MCCANNTO PARETTI)
The skylight wasrigged to blow?
(rigged to blow : i.e., set to be blown
apart by explosives)
185
771.8
777.0
5.8
PARETTI TO MCCANN)
Yeah, and cargo nets were spread out,
ready to use.
186
777.8
782.12
5.4
DETECTIVE TO MCCANN)
Theyhad on rappelling harnessesunder
their clothes.
(They : The thieves)
(rappelling harnesses: harnessesto
aid individuals in rappelling,
descendingby sliding downa rope
passedunder one thigh, across the
body, and over the opposite shoulder.
or througha special friction device)
764-02
SCENE101 - MCS- PASTPARETTI, RFG, TO
MCCANNAS THEY REACHTHE END OF THE
HALL AND START TO TURN AROUNDA
CORNER. MCCANNSPEAKS QUIETLY TO
PARETTI.
MCCANN
I love this neighborhood.Someof these broads
are wearing mysalary.
MCCANNAND PARETTI TURN AND EXIT RFG
AROUNDTHE CORNER.
768-06
GALLERYNIGHT- FS - LOWANGLE- LOOKINGUP AT
THE SKYLIGHT, THROUGHWHICH SEVERAL
ARMEDPOLICEMENCAN BE SEEN STANDING
GUARD.
MCCANN
(off)
So, the skylight wasrigged to blow?
CAMERAPANS L, OFF THE SKYLIGHT, AND
TILTS DOWNTO REVEALPARETTI, LENOX
AND A MUSEUMDETECTIVE WALKING LFG
THROUGHTHE MAIN GALLERY. DETECTIVES
AND MUSEUMEMPLOYEESARE INSPECTING
PAINTINGSON THE WALLIN BG.
PARETTI
(off)
Yeah, and (on) there were cargo nets spread out
ready to use.
CAMERA
PANS L, OFF PARETTI, LENOXAND
THE MUSEUMDETECTIVE, TO REVEAL
MCCANNSTANDINGBELOWTHE O.S.
SKYLIGHT, WAITING FOR THEM.
MUSEUMDETECTIVE
Andtheywere wearing rapelling harnesses(off)
underneaththeir clothes.
(2AB- 77)
"THE THOMASCROWN
AFFAIR"
R/2AB PI27
TITLE
NO.
MASTERENGLISHSUBTITLE/SPOTFING
LIST
CAMERAHOLDSON MCCANNIN CS AS HE
TURNSAND LOOKSUP AT THE O.S.
SKYLIGHT.
MCCANN
Okay.All right.
MCCANNTURNS AND WALKS LBG ACROSS
THE GALLERY, CAMERAPANNINGWITH HIM
INTO MS.
MCCANN
(contd)
All right, lets just track this thing through.
187
786.12
789.12
3.0
188
790.4
795.0
4.12
MCCANNTO PARETTI)
Theykill the air, makethe place
uncomfortable...
(kill the air : i.e., stop the operation
of the air conditioning)
189
795.6
802.10
7.4
MCCANNTO PARETTI)
...drive the tourists out, then lower these
gates so nobodywill disturb them.
(these gates : referring to the security
gates)
190
803.0
810.0!
7.0
MCCANNTO PARETTI)
Theylower the paintings into the cargo
nets, pull the paintings...
(pull the paintings : take the paintings
off the walls)
(note that McCann
is describing the
steps of the theft out of sequence
- the
paintings wouldnot be put into the nets
until they wereremovedfrom the wall
andtheir frames)
MCCANNTURNSTO LOOKBACK AT THE O.S.

GROUPAS HE CONTINUESWALKING
BACKWARDACROSSTHE GALLERY, CAMERA
MOVINGIN WITH HIM.
MCCANN
(contd)
So, they kill the air, makethe place
uncomfortable,drive out the tourists, right?
MCCANNTURNS TO LOOK AT THE METAL
GATEIN BG, WHICHIS HALFWAYCLOSED,AS
CAMERAKEEPS FOLLOWINGHIM.
PARETTI
(off)
Mm-hm.
MCCANN
(overlapping)
Then they lower these gates so nobodycan get
in to disturb them.
PROCTOR
(low andindistinct to:) Thankyou. Keepgoing.
MCCANNTURNS AND WALKS R TO THE
DOORWAY
LEADING TO THE OoS.
IMPRESSIONIST GALLERY AS CAMERA
DOLLIES R WITH HIM PAST A DISPLAY CASE
IN FG.
MCCANNTO PARETTI)
So, lets go throughthis.
(go throughthis : i.e., review the
thievesplan)
MCCANN
(overlapping)
Thenthey lower the paintings into the (off) cargo
nets.
(2AB - 78)
"THE THOMAS
CROWN
AFFAIR"
R/2AB PI28
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOI"rlNGLIST
MCCANNEXITS R THROUGHTHE DOORWAY
AS CAMERAPANS SLIGHTLY L TO REVEAL
CATHERINESTOPPING BY THE METAL GATE
IN LBG. LENOX, PARETTI AND THE MUSEUM
DETECTIVECROSSR IN FG, FOLLOWING
O.S.
MCCANN.
MCCANN
(off) (contd)
Pull the paintings,di-...
810-02
GALLERYo NIGHT- MFS- DETECTIVES
ARE
WORKINGIN A TAPED-OFFSECTIONOF THE
GALLERY, EXAMINING THE AREA WHERETHE
PAINTING WASSTOLEN.
191
/810.6
812.10
192
813.0
818.6
5.6
MCCANNTO PARETTI)
...and figure theyll fly out of herelike Peter
Pan.
(figure : think)
(Peter Pan: title character in a 1904
play by-Sir JamesM. Barrie - Peter
Pan was a boy who never grew up and
hadthe magicalability to fly)
193
818.12
823.8
4.12
MCCANNTO PARETTI)
But somebodymakes them early. Chopper
takesoff.
(makes: slang for, identifies)
(Chopper: see Title #164)
(takes off : leaves)
194
824.0
827.0
3.0
MCCANNTO PARETTI)
Somemakeit, somedont.
(i.e., Someof the thieves escape,
somedont.)
195
827.8
831.8
4.0
MCCANNTO PARETTI)
Basically, amateurnight.
(amateur night : evening in which
amateurperformers can honetheir
skills in front of anaudienceo here,
sarcastically meaningthat the
operation wasincompetent)
(McCann
notices the briefcase that
waspropping openthe gate)
2.4
MCCANN
(off)
..-tch the frames...
CAMERAPANs L TO REVEAL MCCANN
LEADING PARETTI AND THE MUSEUM
OFFICIALS FG PAST THE TAPED-OFF
SECTION, THEN CAMERADOLLIES BACK
WITH HIM.
MCCANN
(contd)
...figure theyre gonnafly outta here like a road
companyof Peter Pan.
PARETTI(overlapping)
(low) Mm-hm.
MCCANNWALKS THROUGHA DOORWAY
INTO ANOTHERGALLERY, THEN TURNSAND
WALKS L ACROSSTHE GALLERY AS CAMERA
PANSWITH HIM IN MS. PARETTI ANDTHE
OTHERSFOLLOW.
MCCANN
But somebodymakesthem early. Chopper takes
off.
MCCANN WALKS THROUGHANOTHER
DOORWAY,RETURNINGTO THE MAIN
GALLERY, AS CAMERADOLLIES IN BEHIND
HIM. PARETTI AND THE OTHERSFOLLOW.
MCCANN
(contd)
Someof the crew makeit, someof themdont.
Basically, amateurnight. Right?
MCCANNTO PARETTI)
...ditch the frames...
(ditch : slang for, leave behind
abandon)
(meaningthat they removethe
paintings from their framesand leave
the frames behind)
(2AB- 79)
R/2AB PI29
TITLE
NO.
LIST
MCCANNSTOPS IN THE MIDDLE OF THE
GALLERY AS CAMERACONTINUESDOLLYING
IN ON HIM, OFF THE OTHERS.CAMERA
HOLDSIN MCS AS HE TURNSAND LOOKS
DOWNLFG.
MCCANN
(contd)
Whats that?
196
833.12
835.2/
197
835.8
839.4
3.12
PARETTI TO MCCANN)
It waswedgedunder the gate.
(It : referring to the briefcase)
198 839.12
841.12
2.0
MCCANNTO PARETTI)
And?
199
846.0
848.12
2.12
PARETTI TO MCCANN)
Its not exactly Samsonite.
(Samsonite : trademark nameof
hard vinyl material that is usedto make
durable luggage)
200
849.4
852.12
3.8
Titanium. It hadto absorb...
(Titanium : chemical element,
silvery-gray metalthat is a lightweight,
high-strength structural metal)
(It : The briefcase)
1.6
MCCANNTO PARETTI)
Whats that?
835-02
SCENE104 - MFS- PARETTI GESTURES
LFG
AT THE O.S. OBJECTIN QUESTIONAS
MCCANNSTEPS UP TO JOIN HIM. MUSEUM
OFFICIALS AND OTHERDETECTIVESARE IN
BG.
PARETTI
Uh, i-it waswedged
under the gate.
MCCANN
And?
MCCANNLEADS PARETTI AND THE MUSEUM
DETECTIVELFG TOWARD
THE O.S. OBJECT.
PARETTI
(chuckles)
843-13
SCENE105 - MS - LOOKINGDOWNPAST
MCCANNSTORSO,TIPPED IN RFG, TO THE
OBJECT-- CROWNSCRUSHEDBRIEFCASE-AS MCCANNSTOPS TO LOOK DOWNAT IT. A
POLICE DETECTIVE OPENSTHE CASE TO
REVEALTHATITS INTERIORIS TITANIUM.
PARETTI
(face off)
Not exactly Samsonite.
MCCANNKNEELS DOWNTO EXAMINE THE
BRIEFCASE.
MUSEUM
DETECTIVE(off)
Titanium. The engineersaid that itd haveto
absorb...
853-02
(2AB- 80)
R/2AB PI30
TITLE
NO.
LIST
SCENE106 - MCS- MCCANNLOOKSDOWN

AT THE O.S, BRIEFCASE. THE MUSEUM
DETECTIVESTORSOIS RBGBEHINDHIM.
MUSEUM
DETECTIVE
(face off)
...fifteen to twentytons to stopthis gate.
201
/853.4 858,4
5.0
...fifteen to twentytons to stopthis gate.
(tons : tons of pressure)
(Catherine steps up to McCann)
202
864.0
868.4
4,4
CATHERINETO MCCANN)
Thereare a coupleof holes in your theory.
(holes : flaws- weaknesses)
203
874.8
882.0/
7.8
CATHERINE TO MCCANN)
Theyshut off the air to drive out the
tourists, then escort themout anyway?
(air : see Title #188)
859-07
MCCANN,RFG, TO THE OPENBRIEFCASEAS
CAMERAPANS R TO REVEAL CATHERINES
HIGH-HEELEDFOOT STEPPING INTO FRAME
BESIDEHIM.
CATHERINE
(face off)
Seemsthere maybe a couple of holes in your
theory.
MCCANNTURNS TO CATHERINE AS CAMERA
TILTS UP HERSHAPELYLEG.
870-02
SCENE108 - MCS- MCCANN
STARESL AT
O.S. CATHERINE,HIS GAZE TRAVELING
UPWARD.THE MUSEUMDETECTIVES
TORSOIS RBG BEHINDHIM.
872-02
SCENE109 - MCS- PAST MCCANN,RFG, TO
CATHERINEAS CAMERATILTS UP HER BODY
TO HER FACE. SHE LOOKS DOWNAT
MCCANN.
CATHERINE
Theyshut off the air to drive out the tourists,
then they escort them out anyway?
882-03
SCENE110 - MCS- PAST CATHERINES
TORSO, RFG, TO MCCANNAS HE STANDS
UP, CAMERACRANINGUP WITH HIM.
888-04
(2AB81)
"THE THOMAsCROWNAFFAIR" R/2AB PI31

TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI-IING LIST
SCENE111 - MCS- PAST MCCANN,

STANDINGUP IN LFG, TO CATHERINE
SMILINGSEXILY AT HIM.
CATHERINE
Thenthey close the gates to keep everybodyout,
204
890.12
895.4
4.8
Thenthey close the gates to keep
everyoneout...
but block one of themopenwhile they prepare to

load, conservatively, a thousandpoundsof
205
895.12 902.4
6.8
...but block oneopenwhile they prepareto
load, conservatively...
(one : one gate)
206
902.12
907.12
5.0
...1,000 poundsof paintings and 800
poundsof men...
207
908.2
911.14 3.12
...that weknowabout,in a ....
208 912.8
915.0
2.8
CATHERINETO PARETTI)
What was the chopper model?
(chopper : see Title #164)
209
915.8
919.0
3.8
PARETTI TO CATHERINE)
Sikorsky S-76.
(model of helicopter manufacturedby
SikorskyAircraft Corporation, which
makesadvancedhelicopters for
military andcommercialuse)
210
920.12 925.12
(over scene end)
5.0
CATHERINETO MCCANN)
In a chopperwith a 600-poundload.
(load : maximum
weight capacity)
211
928.0
933.12/
(over sceneend)
5.12
CATHERINE
TO MCCANN)(dryly)
Youfigure youll wrapthis by morning,
Lieutenant?
(wrapthis : i.e., solve this crime)
(Lieutenant : note that Catherineis
calling McCann
by a rank that is lower
than his true rank)
paintings and eight hundredpoundsof men,that

we knowabout, in a, um...
CATHERINETURNSR TO O.S. PARETTI.
CATHERINE
(contd)
...what was the chopper model?
CAMERAPANS R, OFF MCCANN,TO INCLUDE
PARETTI.
PARETTI
Sikorsky S-seventy-six.
CATHERINE
Right.
CAMERA
PANSL, OFF PARETTI, TO INCLUDE
MCCANNAGAIN AS CATHERINETURNSTO
HIM.
CATHERINE
(contd)
In a chopperwith a six-hundredpound...
923-08
SCENE112-MCS-PAST CATHERINE, RFG,
TO MCCANN.
CATHERINE
...usefulload. You, uh...
928-15
(2AB- 82)
"THE THOMASCROWN
AFFAIR"
R/2AB PI32
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOI-rlNGLIST
SCENE113 - MCS- PAST MCCANN,LFG, TO

CATHERINE AS SHE REMOVESHER DARK
GLASSES.
CATHERINE
...figure youll wrapthis by morning,do you,
Lieutenant?
933-14
SCENE114 - MCS- PAST CATHERINE,RFG,
TO MCCANN.
MCCANN
Uh, its Detective. And, you know,Im a little
212
934.12
213
939.4
4.8
MCCANNTO CATHERINE)
Detective. AndIm a little fuzzy about who
you are.
(Detective : i.e., Address meby my
correct rank of Detective)
(fuzzy : uncertain)
939.10 942.6
2.12
CATHERINETO MCCANN,THEN
MCCANNTO CATHERINE)
-Sorry. Im CatherineBanning.
-Of?
(Of : From what companyor
organization)
214
942.12 946.0
(over sceneend)
3.4
CATHERINETO MCCANN)
Zurich Underwritersrequested....
(Zurich : city in Switzerland)
(Underwriter : Insurers - personsor
company
that guaranteesa policy of
insurance)
(fictional insurancecompany)
215
946.8
948.0
(over scene end)
1.8
Actually--
216
948.4
950.12
(over scene end)
2.8
MCCANNTO CATHERINE)
Youre insurance.
(i.e., Youre an insurance
investigator.)
217
951.7
957.3
5.12
(over scene end)
fuzzy about whoyou are.

CATHERINE
(overlapping)
Oh, Im sorry. Im Catherine Banning.
MCCANN
Of?
CATHERINE
Zurich Underwritersreques-...
944-12
CATHERINE.
CATHERINE
...-ted-- Well,actually...
947-09
TO MCCANN.
CATHERINE
...theypulled-MCCANN
(overlapping)
Youre insurance.
949-12
CATHERINE.
CATHERINE
Well, lets say there are a coupleof Swiss
gentlemenwhod rather not write a hundred
million dollar...
CATHERINETO MCCANN)
Theydont wantto write a hundredmillion
dollar check. "
(They: The insurers of the painting)
(meaningthat the insurers of the
painting dont wantto haveto pay off
on the policy for the painting, which
wasone hundredmillion dollars)
956-09
(2AB- 83)
"THE THOMAS
CROWN
AFFAIR"
R/2AB PI33
COMBINED
TITLE
NO.
MASTER
LIST
SCENE118 - MCS- PASTCATHERINE,RFG,

TO MCCANN.
CATHERINE
...check.
MCCANN
So Im stuck with you on myback.
218
957.9
960.9
3.0
MCCANNTO CATHERINE)
So Im stuck with you on myback.
(i.e., So Im forced to acceptyour
closely workingwith me. - Forced to
accept your bothering me.)
219
961.7
968.11
7.4
Comeon, Lieutenant. Whoknows? You
mightenjoy it.
(Comeon : Cheer up)
(Lieutenant : note that Catherine
again calls him by the wrongrank)
(it : workingwith me)
MCCANNTURNSAND WALKS L, CAMERA

PANNINGWITH HIM, OFF CATHERINE,TO
INCLUDE THE MUSEUMDETECTIVE.
CATHERINE
(off)
Ohhh...
CAMERAPULLS BACK TO CATHERINEAGAIN,
RACKINGFOCUSTO HER, OFF MCCANN.
CATHERINE
(contd)
...come on, Lieutenant. Whoknows?
CATHERINE TURNS AROUNDTO FACE
MCCANN,NOWSTANDINGIN BG, AS CAMERA
RACKSFOCUSTO HIM AGAIN. PARETTI IS
STANDINGL BESIDEHIM.
CATHERINE
(contd)
Youmight enjoy it.
PARETTI
(chuckles)
PARETTI TURNSTO MCCANN,CHUCKLING,
THEN STOPS IMMEDIATELYAS HE SEES
MCCANNIS NOT AMUSED.
PARETTI
(contd)
Oh.
MCCANNSTARTS TO WALK AWAY.
975-06
SCENE~19 - EXT. GOLFCOURSE
- DAY- LS HIGH ANGLE o CAMERATILTS DOWNFROM
THE TREES SURROUNDINGTHE GOLF
COURSEAND ZOOMSIN TO REVEAL A GAME
IN PROGRESS. CROWN
IS SWINGINGHIS
CLUBAT A BALL IN A SANDTRAP.
983-13
SCENE120 - MCS- CROWNS
CLUB HITS THE
BALL OUT OF THE SANDTRAP.
984-11
(2AB
- s4)
"THE THOMASCROWNAFFAIR" R/2AB P134

TITLE
NO.
MASTER

COMPLETES
HIS
SWINGANDLOOKSLFG AT THE O.S. BALL.
985-15
SCENE122 - FS - THE BALL LANDSNEARTHE
HOLE AND BOUNCES
EVEN CLOSERTO IT.
988-09
SCENE123 - MFS o THE BALL STOPSABOUT
AN INCH FROMTHE HOLE.
REYNOLDS
(off)
Whoa!
990-09
SCENE124 - FS - LOOKINGUP OUTOF THE
SAND TRAP TO CROWNSGOLF
COMPETITOR, A WEALTHYGENTLEMAN
NAMEDJOHN REYNOLDS, AND REYNOLDSS
CADDIE STANDING NEARBY, AS-CROWN
CLIMBS UP OUT OF THE SANDTRAPIN FG.
REYNOLDS
Thousandbucks says you cant...
220
991.7
995.13
(over sceneend)
4.6
221
1000.15 1004.11 3.12
222
1005.3 1009.3/ 4.0

(over sceneend)
993-10
FINISHES
CLIMBINGOUT OF THE O.S. SANDTRAP,
STARINGRFG AT O.S. REYNOLDS.
REYNOLDS
(off)
...do that again.
REYNOLDSTO CROWN)
A thousandbucks Saysyou cant do that
again.
(bucks: slang for, dollars)
(A thousandbuckssays : i.e., 111 bet
you a thousandbucksthat)
(note that Crownis playing golf with
wealthy mannamedReynolds - Crown
has just hit his ball out of a sandtrap
and it has landedonly inches from the
cup)
CROWNTHINKS FOR A MOMENT,THEN

TURNSLBG TO HIS O.S. CADD!E.
CROWN
Tony, put anotherball (face off) downthere.
CAMERATILTS DOWNAND PANS L TO
REVEAL CROWNSCADDIE STANDINGIN THE
SAND TRAP AS CROWNHEADS DOWNTO
HIM.
REYNOLDS
(off)
Tommy,
it w-...
CROWNSCADDIE SETS DOWNTHE GOLF
BAG.
1006-10
CROWNTO CADDY)
Tony, put another ball downthere.
(downthere : downin the sand)
REYNOLDSTO CROWN)
Tommy,
it wasa figure of speech.
(Tommy: diminutive nicknamefor,
Thomas)
(it : referring to wagerReynolds
offered)
(figure of speech: form of expression
used to convey meaningor heighten
effect)
(the caddyputs anothergolf ball at
Crownsfeet in the sandtrap)
(2AB- 85)

TITLE
NO.
LIST
SCENE126 - MS - REYNOLDS
LOOKSLFG AT
O.S. CROWN.HIS CADDIEIS STANDINGIN
LBG.
REYNOLDS
...-as a figure of speech.
1009-04
SCENE127 - MCS- CROWNSFOOTPRESSES
A GOLF BALL INTO THE SAND.
CROWN
(face off)
Lets makeit interesting, shall we?
223
1009.11 1012.1/ 2.6
CROWNTO REYNOLDS)
Lets makeit interesting.
(it : the bet)
224
/1012.7
CROWNTO REYNOLDS)
Ten to one?
(meaning he wants to makethe odds
of the bet ten-to-one, so that if he
loses, he has to pay $10,000)
225
/1014.11 1017.3 2.8
1012-03
SCENE128-MS-CROWN LOOKS UP RFG AT
O.S. REYNOLDSFROMTHE SAND TRAP.
CROWN
Tentoone?
1014.3 1.12
REYNOLDS(off)
Fi-...
1014-09
SCENE129 - FS - PAST CROWN,STANDING
LFG IN THE SANDTRAP, TO REYNOLDS
STANDINGUP ABOVEIT IN RBG. THEIR
CADDIES ARE STANDINGNEARBY.
REYNOLDS
...-ne, llltake your money.
CROWNSETS UP HIS SHOT.
1022-10
REYNOLDSTO CROWN)
Fine. Ill take your money.
(111 take your money: meaningthat
he fully exp(~ctsto win the bet)
(Crownhits the golf ball andit flies into
sometrees)
STARTSTO SWING
HIS CLUBAT THE O.S. BALL.
1026-04
SCENE131 - MCS- THE CLUBHITS THE BALL
OUT OF THE SAND.
1027-01
SCENE132 o FS - LOOKINGUP AT THE
SURROUNDING
TREES AS THE BALL ENTERS
LFG ANDFLIES INTO THEIR BRANCHES,
CAMERAPANNINGR WITH IT.
CROWN
(off)
(grunts)
1029-14
(2AB- 86)

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOTIINGLIST
LOOKSRFG UP AT
O.S. REYNOLDS.
CROWN
(exhales) Lets go again. Still ten to one.
226
1032.2
1035.7 3.5
227
1035.15 1043.71 7.8

(over scene end)
REYNOLDSTO CROWN)
Tommy,thats a hundredthousanddollars
on a goddamn
golf swing.
(thats : that wageris nowin the
amountof)
228
1044.15 1052.7
7.8
CROWNTO REYNOLDS)
Its a beautiful Saturdaymorning,John.
Whatelse have we got to do?
229
1054.15 1061.7
(over sceneend)
6.8
PARETTI TO MCCANN)
Shedoes live in Europe,but shes from the
Midwest.
(She : Catherine)
(Midwest: i.e., midwesternsection of
the UnitedStates)
(note that Paretti andMcCann
are in
security roomin the museum,
reviewinga file on Catherine)
230
1061.13
CROWN
CATCHESA BALL THAT HIS O.S.
CADDIE TOSSESTO HIM.
REYNOLDS
Tommy,thats a...
1038-00
SCENE134 - MS o REYNOLDS
LOOKSLFG
DOWNAT O.S. CROWN.HIS CADDIEIS
STANDINGIN LBG.
CROWNTO REYNOLDS)
Lets go again. Still ten to one.
(go again : wager on another hit)
(meaningthat if he loses this time, he
will have to pay $100,000)
REYNOLDS
...hundredthousanddollarsonagoddamngolf
swing.
1043-11
SCENE135 - MCSo CROWN

SHAKESHIS
HEADWHILE SETTING UP HIS SHOT.
CAMERACRANESDOWNINTO A LOW ANGLE.
CROWN
Its a beautiful Saturdaymorning, John. What
the hell else have wegot to do?
CROWN
SWINGSHIS CLUB AND HITS THE
O.S. BALL.
PARETTI(voice over)
All right...
1056-03
SCENE136 INT. MUSEUM
SECURITY
CENTER- DAY - MCS- PAST MCCANN,
TIPPED IN LFG, TO PARETTISTANDINGL
BESIDE HIM, AS THEYBOTHLEAN OVERTHE
MONITORCONSOLE, LOOKING DOWNAT AN
O.S. FILE. CAMERASLOWLY
DOLLIES L
AROUNDAND BEHIND THEM.
PARETTI
...she doeslive in Europe,but shes actually from
the Midwest. Born Catherine Olds.
1065.7 3.10
PARETTI TO MCCANN,THEN
MCCANNTO PARETTI)
-Born Catherine Olds.
-Whos Banning?
(Born : i.e., She wasborn with the
name)
(Banning: note that this is
Catherines current last name)
(2AB
- 87)

TITLE
NO.
MASTER
231
1065.13 1069.1
3.4
232
1069.7
1074.15 5.8
MCCANN
TO PAREI-El, THEN
PARETTI TO MCCANN)
-So shes not law enforcement.
-Worse. Bail bonds and bounties.
(shes not law enforcement: i.e., she
doesnt comefrom a law enforcement
background)
(Bail bond : Moneydeposited with the
court on behalf of an arrested person,
insuring his or her return to court for
trial - implyingthat Catherinesfather
was a bail bondsman)
(bounty : reward for capturing
wantedcriminal, usually offered by the
governmento implying Catherines
father huntedcriminals for bounties)
233
1075.5
1077.9
MCCANN
TO PAREI-II)
Toughpeople.
(i.e., Peoplewhoprovide bail bonds
and hunt criminals for bountiesare
strong, unyieldingindividuals.)
234
1077.15 1084.15 7.0
PARETTI TO MCCANN)
Her father is an Ohio hardcasenamed
Clarence Olds, called BumperOlds.
(hardcase: slang for, severe,
stubbornindividual)
(Bumper: nicknamewhich is
reference to the bumperof a car)
235
1085.5
1088.13 3.8
PARETTI TO MCCANN)
Story is he kept a chain on his back
bumper.
236
1089.3
1094.11 5.8
PARETTI TO MCCANN)
A guy ran, he brought him back on the end
of the chain.
(A guy ran : i.e., A manfled without
keeping his court appearance- note
that if a persondid this, the bail bond
wouldbe kept by the court and the
bondsmanwould be out the money)
(he : Clarence)
(brought...chain :implying that
Clarence draggedthe manbehind his
car, backinto town)
237
1095.5 1099.1/ 3.12

(over sceneend)
MC~ANN
(overlapping)
Well, whos Banning?
PARETTI
(face off)
SomeEnglishman(on) she married for six
months.
MCCANN
Oh, so shes not law enforcement.
(chuckles) Worse. Bail bondsand bounties.
MCCANN
Whoa,tough people.
CAMERACONTINUESDOLLYING L, OFF
MCCANN,TO FOCUSON PARETTI.
2.4
(chuckling) Yeah. Her fathers an Ohio hardcase
namedClarence Milton Olds, called Bumper
Olds. Story goes he kept a chain on his back
bumper.
CAMERAPANS R, OFF PARETTI, TO MCCANN
WHILE CONTINUINGTO DOLLYL.
PARETTI
(off) (contd)
A guy ran on him once, he brought him back
(chuckling) on the endof the chain.
MCCANN
(overlapping)
(chuckles) Guessyou dont wanna...
1096-07
PARETTI, GRINNINGAND SHAKINGHIS HEAD.
MCCANN
...cross old Clarence,huh?
PARETTI TURNSAND LOOKSLFG AS HE
SEES O.S. CATHERINEENTERTHE ROOM.
1099-02
PARETTI TO MCCANN)
SomeBrit she married for 6 months.
(Brit : slang for, British person)
MCCANNTO PARETTI)
Guessyou dont want to cross Clarence.
(you : impersonal pronoun)
(cross : challenge- annoy)
(Catherine enters)
(2AB- 88)
"THE THOMAS
CROWN
AFFAIR"
RJZABPI38
TITLE
NO.
LIST
SCENE138 - MFS- LOOKINGOVERTHE

CONSOLEPAST MCCANNAND PARETTI, L,
TO CATHERINEAS SHE ENTERS THROUGH
THE DOORWITH A BROWNPAPER BAG. SHE
IS WEARINGHER DARKGLASSESAND HAS
HER HEADWRAPPED
IN A WHITE SCARF.
MCCANN
Goodmorning. How(face off) are you?
238
1099.9
1102.1
2.8
239
1109.3
1113.7 4.4
240
1113.15 1117.3/ 3.4
CATHERINE WALKSR ACROSSTHE ROOM,

CAMERAPANNING WITH HER, OFF MCCANN
AND PARETTI. SHE STOPSAT THE OTHER
END OF THE CONSOLEAND SETS DOWNHER
THINGS AS CAMERAHOLDSIN MS.
1107-12
MCCANNTO CATHERINE)
Morning. Howare you?
(Catherine,holding a health drink, sits
downat a monitor, but does not
respond)

ROOMPAST CATHERINE, LFG, TO MCCANN
AND PARETTI AT THE OTHEREND OF THE
CONSOLEIN BG. THEY WATCHHER AS SHE
REMOVESHER .SCARE, IGNORINGTHEM.
MCCANN
I said, uh, howare you?
MCCANNTO CATHERINE)
I said...how are you?
CATHERINETAKES A SEAT AT THE

CONSOLE, CAMERACRANING DOWNWITH
HER.
CATHERINE
Jet-lagged. Thankyou.
CATHERINEPULLS A HEALTH DRINK OUT OF
THE PAPER BAG.
1117-04
SCENE140 - MS - CATHERINESHAKESTHE
HEALTHDRINK BOTTLE, THEN STARTSTO
UNCAP
IT.
1122-04
CATHERINETO MCCANN)
Jet-lagged. Thankyou,
(Jet-lagged : Suffering from jet lag,
condition characterizedby fatigue and
irritability that occursfollowinglong
flight through several time zonesand
results from disruption of circadian
rhythms in the humanbody)
(Catherinestarts to downher drink,
grimacingwith distaste as she does)
SCENE141 - MCS- PAST CATHERINESFACE,

TIPPED IN RFG, TO PARETTI AND MCCANN
AS THEY WATCHHER CURIOUSLY.
1126-00
SCENE142 - MCS- CATHERINESHANDS
POURTHE THICK GREENHEALTH DRINK
FROMTHE BOTTLEINTO A PLASTIC CUP.
1129-01
(2AB- 89)

TITLE
NO.
MASTER
SCENE143 - CS - MCCANN,R, STARESLFG

AT THE O.S. DRINK ANDGRIMACESIN
DISGUSTTHEN GLANCESBACK AT PARETTI,
WHOIS STANDING IN BG. CAMERARACKS
FOCUSTO PARETTI AS HE GLANCESBACK
AT MCCANN, THEN CAMERARACKS FOCUS
TO MCCANNAS HE TURNSTO LOOKAT O.S.
CATHERINEAGAIN.
1139-11
SCENE144 - MS - CATHERINESIPS HER
HEALTHDRINK.
CATHERINE
(drinks)
CATHERINESTARTSTO TURNIN HER CHAIR.
1146-06
SCENE145 - MFS- PAST MCCANN,RFG, TO
CATHERINEAS SHE TURNS. HER CHAIR
AWAYFROM THE CONSOLEAND STANDS UP.
A SECURITYTECHIS SITTING AT A DESKIN
BG.
1151-04
SCENE146 - MCS- PAST CATHERINES
TORSO,WHICHTIPS IN LFG0 TO MCCANN
AS
HE SPEAKSTO HER. PARETTI IS STANDING
BEHIND MCCANN. A MUSEUMOPERATING
TECH CROSSESL IN FRONTOF MCCANN
AND TAKESA SEAT AT THE O.S. CONSOLE.
241
1153.7 1159.15/ 6.8
MCCANNTO CATHERINE)
Wethought wed start with the security
tapes. VVhatis that?
(start with : start by looking at)
(security tapes : videotapes recorded
by the museum
surveillance system)
(that : that drink)
242
/1160.5 1162.13 2.8
Youdont want to know.
(the Museum
Operating Techstarts up
a videotape)
243
1163.3
1168.135.10
(over scene end)
OPERATINGTECH TO GROUP)
Theseare yesterdays tapes from the
Impressionist Wing.
(tapes : videotapes)
(the videotape showspeople in the
gallery, but their imagesare blurry and
colored)
MCCANN
Wethought wed start with the, um,security
tapes. Whatis that?
1160-02
SCENE147 - MS - CATHERINE,STANDINGR
BESIDE THE OPERATINGTECH, LOOKSL AT
O.S. MCCANN.THE OPERATINGTECH
PUNCHESSOMEO.S. BUTTONSTO PLAY
SOMETAPES.
CATHERINE
Youdontwannaknow.
MUSEUMOPERATING TECH
AIIright, theseareyesterdayst-...
1166-03
(2AB- 90)
"THE THOMAS
CROWN
AFFAIR"
R/2AB PI40
TITLE
NO.
LIST
SCENE148 - MCS- A VIDEOTAPEAPPEARS

ON A MONITOR, SHOWINGA SERIES OF
SNAPSHOTSOF TOURISTS MOVING AROUND
THE IMPRESSIONIST GALLERYNEARTHE
MONETPAINTING. THE TIME POSTEDAT
THE BOTTOM
OF THE MONITORIS 10:41.
MUSEUM
OPERATINGTECH (off)
...-apes from the Impressionist Wing.
CATHERINE
(off)
Whyare they different from the corridor
244
1169.3
1172.7 3.4
245
1172.13 1179.91 6.12

(over scene end)
OPERATINGTECH TO CATHERINE)
Were upgrading to thermal imagery. So
far, in just the high valueareas.
(upgrading : upgradingthe security
system)
(thermal imagery:. cameraswhich are
heat-sensitive andtherefore record
imagesbasedon fluctuations in
temperature)
(the high value areas : i.e., the areas
of the museum
containing the most
valuable works)
246
1179.15 1182.5 2.6
Theysense body heat.
(They : The security cameras)
(the angle of the cameraincludes the
Monet)
247
1182.15 1187.7
(over sceneend)
CATHERINETO OPERATINGTECH)
So thats the Monetthat morning.
(thats : that imageis of)
(Monet.: see Title #34)
cameras?
Whyis this different fromthe hall?
(this : this image)
(the hall : i.e., the imagefrom the
surveillancetapesof the hall)
MUSEUM
OPERATINGTECH (off)
Wereupgradingto thermal...
1174-00
SCENE149 - MCS- PAST THE BACKOF THE
OPERATING
TECH, TIPPED IN LFG, TO
MCCANNAS HE SCOOTSHIS CHAIR A LITTLE
CLOSER. PARETTI IS BEHIND MCCANN.
MUSEUM
OPERATING
TECH(face off)
...imagery. Sofar, its just the high value areas.
But it worksin the dark.
1179-10
SCENE150 o MCS- THE OPERATINGTECH
GLANCESBACK AT CATHERINE, WHOIS OUT
OF FOCUSIN RBG, SIPPING HERDRINK.
Even senses body heat.
CATHERINE
(sipping drink) Mm-hm,
got it.
CAMERARACKS FOCUSTO CATHERINE AS
SHE POINTS AT THE O.S. MONITOR.
CATHERINE
(contd)
Sothats the Monetthat...
1186-05
4.8
(2AB- 91)
"THE THOMASCROWNAFFAIR" R/2AB P/41

COMBINED
TITLE
NO.
LIST
SCENE151 - CS - THE MONITORSHOWSTHE

SERIES OF SNAPSHOTSOF TOURISTS
MOVINGAROUNDTHE MONETPAINTING IN
THE IMPRESSIONIST GALLERY.
CATHERINE
(off)
...morning.
MUSEUM
OPERATINGTECH (off)
Right.
CATHERINE
(off)
Okay, skip forward to the robbery.
248
1187.15 1190.15 3.0
Skip forwardto the robbery.
(i.e., Advancethe tape to the time of
the robbery.)
(the Techdoesthis)
249
1193.3 1194.11 1.8
Timeof the robbery.
(the imageis nowwhite)
THE VIDEOTAPE FAST FORWARDS,THEN

SHOWSA BLANK WHITE SCREEN. THE TIME
AT THE BOTTOM
OF THE MONITORIS 5:54.
MUSEUM
OPERATINGTECH (off)
Timeof the robbery.
CATHERINE
(off)
Whoa.Z-...
1196-09
250 li 5.1 1197.52.4

(over scene end)
SCENE152 - CS - CAMERARACKSFOCUS
FROMPARETTI, IN BG, TO MCCANN,IN RFG,
AS THEYSTAREL AT THE O.S. MONITOR.
CATHERINE)
(reacting)
Whoa.Zip.
(whoa:interjection of surprise)
(Zip : slang for, Nothing)
CATHERINE
(off)
...-ip.
MCCANN
Wasyour camerastill
251
1198.7
1203.15 5.8
MCCANNTO OPERATINGTECH)
Wasthe cameraworking, or did they cut
the feed?
(they : the thieves)
(cut the feed : i.e., terminate the
connection to the camera)
(Catherinestares at the monitor, then
smiles)
252
1208.5
1209.13/ 1.8
CATHERINETO MCCANN)
No.
253
1212.7 1214.151 2.8
working, or, what, did they
cut the feed?

1204-04
SCENE153 - MS - PAST MCCANN,TIPPED IN
RFG, TO CATHERINESTANDINGBEHIND THE
OPERATINGTECH, BOTH OF THEM LOOKING
R AT THE MONITOR. CATHERINEGETS AN
IDEA.
CATHERINE
Oh... (chuckling) no.
1209-14
SCENEt54 - MCS- PAST THE OPERATING
TECH, LFG, TO CATHERINEAS SHE STEPS
CLOSERTO HIM, STARINGAT THE O.S.
MONITOR.
CATHERINE
Thats whytheycuttheair.
CATHERINETO MCCANN)
Thats whythey cut the air.
(That : To ruin the thermal imagery)
(cut the air : variationon kill the air,
Title #188)
1215-01
(2AB- 92)
R/2ABP/42
TITLE
NO.
LIST
SCENE155 - MS - PAST THE OPERATING

TECHS BACK, TIPPED IN LFG, TO MCCANN
SWIVELINGCURIOUSLY
IN HIS CHAIR, AND
PARETTI STANDINGBEHINDHIM.
MUSEUM
OPERATING
TECH(face off)
Youknow, that could be. Thesethings needa...
1219-10
254
1216.3 1221.9
(over sceneend)
5.6
That could be. Thesethings need a 10
degreedifference.
(That could be : Your theory could be
correct)
(things : heat-sensitive cameras)
(10 degreedifference : difference of
10 degreesFahrenheit betweenthe air
and the objects andpeople in the
room)
255
1222.1
5.4
If the air temperaturegets within 10
degreesof the bodies--
256
1227.11 1231.11 4.0

(over sceneend)
--the cameracant tell betweenpeopleand
walls.
257
1232.1 1235.91 3.8
Howhot was it? Checkthe other cameras.
(it : the temperature)
(the Techchecksa tape from
different room- on this tape, bodies
are visible)
258
1238.11
Whycan you see people here?
259
1242.7 1246.7
(overscene end)
SCENE156 - MCS- THE OPERATINGTECH

STARESFG AT THE O.S. MONITOR.
CATHERINEIS OUT OF FOCUSBEHIND HIM
IN RBG.
...ten degreedifference. If the temperatureof
1227.5
the ambientgets within ten degreesof the

bodies-CAMERARACKS FOCUSTO CATHERINE.
CATHERINE
--then the cameracant tell betweenpeopleand
wall-...
1231-03
SCENE157 - CS - MCCANN,R, STARESLFG
AT O.S. CATHERINE,THENLOOKSL AT THE
O.S. MONITOR.PARETTI IS OUT OF FOCUS
IN BG.
CATHERINE
(off)
...-s. Andhowhot did it get in the museum?
Checkthe other camera-...
1235-11
SCENE158 - MCS- CAMERAPANS L FROM
THE BLANK WHITE MONITORTO ANOTHER
MONITOR, WHICH SHOWSA SERIES OF
SNAPSHOTS
IN THE EGYPTIAN WING. THE
TIME AT THE BOTTOMOF THE MONITORIS
5:06.
1242.1 3.6
CATHERINE
(off)
...-s. Okay,so, whycan you see peoplein this
room?
MUSEUM
OPERATINGTECH(off)
Well, the ambientin that wing on-...
1243-09
4.0
That wing only went up to the mid-80s.
(mid-80s : temperature range
between83 and 87 degrees
Fahrenheit)
(2AB- 93)

COMBINED
TITLE
NO.
MASTERENGLISHSUBTIiL~SPOTTINGLIST
SCENE159 - MCS- PAST MCCANN,TIPPED IN

RFG, TO CATHERINEAND THE OPERATING
TECHLOOKINGR AT THE O.S. MONITORS.
...-ly wentup to the mid-eighties.
CATHERINE
Okay, wait a minute.
260
1247.11 1249.1512.4
Waita minute.
261
1250.5
1253.13/ 3.8
Youresayingthatforsomereason...
262
/1254.3
1258.15 4.12
...the area aroundthat painting wentabove
90?
(that painting : the Monet)
(McCannand Catherine return to the
gallery - Catherinestares into the
room)
263
1267.12 1269.6 1.10
1250-00
SCENE160 - MCS- PAST THE OPERATING
TECHS BACK, TIPPED IN LFG, TO MCCANN
LISTENINGINTENTLY, R, ANDPARETTI
STANDINGBEHIND HIM, OUT OF FOCUS.
CATHERINE
(off)
Youretelling methat for somereasonthe area
1253-15
RFG, TO CATHERINEAND THE OPERATING
TECH LOOKINGR AT THE O.S. MONITORS.
CATHERINE
...-roundthatpa~icularpainting
wentabove
ninety?
THE OPERATINGTECH NODS. CATHERINE
SMILES AND SHRUGSCURIOUSLY.
1264-09
GALLERY- D~,Y - MS - MCCANN
AND
CATHERINE STROLL THROUGHA DOORWAY
INTO THE IMPRESSIONISTGALLERYAS
CAMERAFOLLOWSTHEM. THE GALLERY IS
CLOSEDTO TOURISTS, AND THE AREA
AROUNDTHE STOLENMONETPAINTING IS
STILL TAPED-OFF, R. A JANITOR SWEEPS
THE FLOORIN BG.
MCCANN
What?
MCCANNTO CATHERINE)
VVhat?
(2AB- 94)
"THE THOMASCROWN
AFFAIR"
R/2AB PI44
TITLE!
NO.
MASTER
CAMERAPANS R, OFF MCCANN,TO INCLUDE
THE EMPTYSECTIONOF THE WALL, R, AS
CATHERINEKEEPS STROLLING AND STARES
AT IT.
264
1272.10 1277.6 4.12
CATHERINETO MCCANN)
I dont know. Theres something.
(something : somethingdifferentsomething
bothering me)
265
1278.4
1281.12/ 3.8
MCCANN
TO CATHERINE)(dryly)
What...are we channeling now?
(channeling : serving as an
intermediaryto spirits whowish to
communicate
with the living world implying that her staring into the room
is similar to that of a personwho
wishesto start channelingspirits)
266
1286.14 1289.8 2.10
MCCANNTO CATHERINE)
Howlong have you been doing this? "
(doing this : working as an insurance
investigator)
MCCANNAND CATHERINE SLOWLYWALK BG

THROUGHTHE GALLERY, CAMERA
FOLLOWINGTHEM.
267
1290.2
1291.14 1.12
CATHERINE TOMCCANN)
A while.
MCCANN
Where? In Europe?
268
1294.6
1296.10 2.4
MCCANNTO CATHERINE)
Where? Europe?
269
1297.10 1299.2/ 1.8
Amongother places.
270
1299.14 1304.12/ 4.14
MCCANNTO CATHERINE)
Youre a real self-promoter. Give mean
example.
(Youre a real self-promoter
sarcastically referring to Catherines
extremereticence to talk about her
career)
(an example: an exampleof your
work)
(Catherine nowstares at the benchin
front of wherethe Monetused to be)
CATHERINE
I dont know. Something.
CAMERACONTINUESPANNING R, OFF
CATHERINE, TO HOLD ON THE TAPED-OFF
AREA.
MCCANN
(oft)
VVhat, are we channeling now?
1281-13
SCENE163 - MCS- PAST CATHERINE,LFG,
TO MCCANNAS THEY STOP, CATHERINE
LOOKINGR AT THE O.S. EMPTYWALL.
MCCANNSTUDIES HER A MOMENT.
MCCANN
Howlong you been doin this?
CATHERINE
A while.
CATHERINE
Amongother places.
1299-04
SCENE164 - MS - CATHERINESPOVCAMERATILTS DOWNFROM THE TAPED-OFF
SECTION AROUNDTHE EMPTYWALL TO THE
BENCHIN FRONTOF IT.
MCCANN
(off)
Oh, youre a real self-promoter. Give mea for
instance.
1304;13
(2AB- 95)
"THE THOMASCROWN
AFFAIR"
R/2AB PI45
COMBINED
TITLE
NO.
MASTER
LIST
SCENE165 o MS - PAST CATHERINE,LFG, TO

MCCANNSTARINGAT HER, WAITING FOR AN
ANSWER.CATHERINEIS STARING R DOWN
AT THE O.S. BENCH,IGNORINGHIM.
271
CATHERINE
Howmany legs?
1311.2
1313.6 2.4
Howmanylegs?
(i.e., Howmanylegs doesthat bench
have?)
(McCannsays something
questioningly)
1317.2 2.0
The bench.
MCCANN
VVhat?
MCCANNTURNSTO LOOKR AT THE O.S.
BENCH.
1314-11
SCENE166 - MS - CATHERINESPOVLOOKINGDOWNAT THE BENCH.
272 1315.2
CATHERINE
(off)
The bench.
1317o13
SCENE167 - MCS- PASTCATHERINE,LFG,
TO MCCANNAS THEY BOTH LOOK R DOWN
AT THEO.S. BENCH.
MCCANN
Two.
273
1319.10 1321.6
1.12
MCCANNTO CATHERINE)
Two.
(i.e., The benchhas twolegs.)
(they return to the security room)
274
/1322.6
2.12
Youstill havethat tape up?
(up : in the machine)
(the Techsays somethingaffirmatively)
275
1325.10 1329.10 4.0
1322-03
SECURITY
CENTER DAY - MFS o PAST THE OPERATING
TECH, STANDINGAT THE CONSOLE
IN LFG, "
TO THE DOORAS CATHERINEENTERS WITH
MCCANN.
CATHERINE
(clears throat) Youstill
1325.2
havethat tape up?
Yeah.
CATHERINESTRIDES RFG OVER TO THE
CONSOLE, CAMERAPANNING WITH HER.
THE OPERATINGTECH FOLLOWS, TAKING
HIS SEAT AT THE O.S. MONITORS.MCCANN
WALKSUP BEHIND THEM.
CATHERINE
Great. Backit up. Backit up to the morningpart
of the tape.
Backit up to the morningpart.
(i.e., Reversethe tape to the section
recordedin the morning.)
(the Techrewindsthe tape)
(2AB- 96)
"THE THOMASCROWN
AFFAIR"
R/2AB P/46
TITLE
NO.
SCENE168 o (CONTINUED)
CAMERAHOLDS ON MCCANNAND
CATHERINEIN MCS AS THEY BEND DOWN
BEHIND THE OPERATINGTECH.
1332-12
SCENE169 - CS - THE MONITORSHOWS
THE
TAPE REWINDING.
CATHERINE
(off)
Okay, stop.
276
1334.2
1335.12 1.10
277
/1342.6
1344.0 1.10
278
1345.8 1347.8/
279
ITAL
!350.12 1354.8/ 3.12
THE TAPE STOPSTO SHOWTHE SERIES OF

SNAPSHOTS
IN THE IMPRESSIONIST
GALLERY. THE TIME AT THE BOTTOMOF
THE MONITORIS 10:41. CAMERASLOWLY
ZOOMSIN ON THE BENCHTO REVEALIT HAS
THREELEGS.
1342-03
Stop.
(the Techstops the tape - the camera
view showsthe benchin front of the
Monet- it hasthree legs)
SCENE170 - MCS- CATHERINESTARES

DOWNAT THE O.S. MONITORWITH A GRIN.
CATHERINE
Hello.
CAMERAPANS L, OFF CATHERINE, TO
MCCANN.
MCCANN
Jesus.
2.0
1347-09
CATHERINE)
(reacting)
Hello.
(usedas a colloquial interjection of
amusedinterest)
MCCANN)
(reacting)
Jesus.
(colloquial interjection of shock)
SCENE171 - CS - LOOKINGAT THE THREELEGGEDBENCH ON THE MONITOR. THE

MIDDLE LEG IS ACTUALLYCROWNSHIDDEN
BRIEFCASE.
MCCANN
(voice over)
So, they bring this thing in earlier in the day.
Whatsin it?
1354-10
MCCANN
TO CATHERINE)(voice over)
So, they brought it in. Whatwasin it?
(it : the third leg, whichwasin the
shapeof a briefcase)
(note that McCann
is nowdriving with
Catherine)
. (2AB- 97)

TITLE
NO,
MASTERENGLISHSUBTITLE/SPOTrlNGLIST
SCENE172 - EXT. ROAD- DAY- MCSLOOKING THROUGHTHE PASSENGER

WINDOWOF MCCANNS CAR TO CATHERINE
IN THE PASSENGER
SEAT, LFG, AND
MCCANN
DRIVING IN BG.
CATHERINE
I mean,it could be a heater.
280
1355.4
1358.4
3.0
281
/1361.6 1368.14 7.8

(over scene end)
In the briefcase, on a timer--to bring the
temperature up 10 more degrees.
(on : operating on)
282
1369.2
MCCANNTO CATHERINE)
Do you ever eat?
(Catherine reacts with puzzlement)
283
1374.10 1376.41 1.10
MCCANNTO CATHERINE)
Like lunch?
284
1377.10
MCCANNTO CATHERINE)
Doyou like pizza? I knowa great place.
(Catherine eyes McCann)
285
1386.14
CATHERINETO MCCANN)
It could be a heater.
MCCANN
What?
1361-04
SCENE173 - INT. MCCANNS
CAR- DAY - MCS
- LOOKINGOVERMCCANNSHANDON THE
STEERINGWHEELTO CATHERINE.
CATHERINE
Inthebrie~ase, onatimer, bringthe
temperatureup ten too-...
1366-14
SCENE174 - CS - MCCANN
DRIVES R,
GLANCINGLFG AT O.S. CATHERINE.
CATHERINE
(off)
...-re degrees.
MCCANN
You ever eat?
1371.2
2.0
CATHERINE(o~
Hm?
MCCANN
Lunch,~rinstance?
1376-06
SCENE175-MCS-PASTMCCANN, RFG, TO
CATHERINE.
MCCANN
Youlikepizza?
1382.2 4.8
Iknowagreatplacewecan
stop.
CATHERINELOOKS OVER AT MCCANNFOR A
MOMENT, THEN RESPONDS.
CATHERINE
Im on Londontime.
1390-06
1389.10 2.12
Im on Londontime.
(i.e., 1 amstill operatingaccordingto
whatthe time is in London,England. implying.that she is on a different
internal clock andisnt hungryat
lunchtime in NewYork - however,this
is also a polite refusal of McCanns
invitation)
(2AB- 98)
R/2AB PI48
COMBINED
TITLE
NO.
MASTER
LIST
STARESLFG AT
O.S. CATHERINE, THEN TURNSFORWARD,
FROWNING.
286
1393.14 1397.6/ 3.8
MCCANNTO CATHERINE)
Andpizzas not your thing. Okay.
-(not your thing : slang for, what you
enjoy - whatis suited to you)
(Catherine looks at McCann
with
amusement)
287
/1397.10 1403.10 6.0
CATHERINETO MCCANN)
Whats wrong, Lieutenant? Did she leave
you for a stockbroker?
(Lieutenant : see Title #211)
(she : your wife)
(meaningthat Catherine can sense by
McCanns
attitude that his wife left him
for another man)
1411-07
288
1405.10 1410.2
4.8
MCCANNTO CATHERINE)
Its Detective,First Grade.
(It : His correct rank or title)
(First Grade: the highest Detective
level in the police force)
1418-06
289
1412.6
1417.6
5.0
MCCANNTO CATHERINE)
Andhe wasa urologist.
(he : the manmywife left mefor)
(urologist : physician whospecializes
in the urinary or urogenitaltract)
290
1423.2
1426.2
3.0
MCCANNTO CATHERINE)
CanI drop you at your hotel?
(drop you : give you a ride to and
leave you)
291
1426.10 1429.2/ 2,8
MCCANN
Andpizzas not your thing. Okay.
1397-07
CATHERINESMILING AT HIM.
CATHERINE
Whatsthe matter, Lieutenant? Didsheleave
you for a stockbroker? Hm?
MCCANN
Its Detective,First Grade.
CATHERINE
(overlapping)
(mouthing) Oh.
DRIVESR.
MCCANN
And, uh, he wasa urologist.
SCENE179 - MCS- LOOKINGOVER

MCCANNS HAND ON THE STEERING WHEEL
TO CATHERINEAS SHE GLANCESAT HIM
WITHA GRIN.
1422-05
SCENE180 - CS - MCCANNGLANCESLFG
OVERAT O.S. CATHERINE.
MCCANN
Can I drop you someplace?At your hotel?
CATHERINE
(off)
One, I keep an apartmenthere. A-...
1429-04
CATHERINETO MCCANN)
I keep an apartmenthere.
(keep : maintain)
(here : i.e., here in NewYork)
(2AB- 99)
"THE THOMAS
CROWN
AFFAIR"
R/2AB PI49
TITLE!
NO.
MASTER
ENGLISHSUBTITLFJSPOrrlNGLIST
SCENE181 - MCR- LOOKINGOVER

MCCANNSHAND ON THE STEERING WHEEL
TO CATHERINE.
CATHERINE
...-nd, two, Im goingto your office.
292
/1429.8
293
1435.12 1438.0/ 2.4
MCCANNTO HIMSELF)
Shekeeps an apartment.
294
1439.6
1442.2 2.12
MCCANNTO HIMSELF)
I keepgoldfish.
(note that here, McCann
is using keep
to meantake care of - he is also wryly
contrastingtheir vastly different
lifestyles)
(McCanndrives himself and Catherine
to the police station - they enter the
squad roomand Paretti approaches
them)
295
1446.6
1450.6 4.0
Hello, little lady. Howyou doing?
(little lady : note that this is
somewhatpatronizing term of address
to use for a professional woman,
but
Paretti is merelytrying to be friendly)
1433.6 3.14
CATHERINETO MCCANN)
AndIm going to your office.
CAMERAPANS R TO INCLUDE MCCANN.

MCCANN
Shekeeps an apartment.
1438-01
DRIVESRo
MCCANN
I keepgoldfish,
1442-07
SCENE183 - INT. POLICE STATION/SQUAD
ROOM- DAY - MFS - PARETTI MOVESRFG
THROUGHTHE BUSY POLICE STATION AS
CAMERAPANS WITH HIM. HE GREETS
PASSING COPS.
PEOPLEIN POLICE STATION
PARETTI
(low) Hey, whats happening?
PASSING COP
(low andindistinct)
PARETTI TURNSAND WALKSLFG, CAMERA
PANNINGWITH HIM TO REVEAL CATHERINE
AND MCCANNENTERING THE ROOM.
PARETTI
(chuckling) Well, hey. Hello there, little lady.
Howyou doin?
CAMERAHOLDS ON THE THREESOMEIN
MCSAS PARETTI SHAKESCATHERINES
HAND.
CATHERINE
Detective.
(2AB- 100)
"THE THOMASCROWNAFFAIR= R/2AB PIS0

COMBINED
TITLE
NO.
MASTER
LIST
PARETTI TURNS TO MCCANNAS CAMERA
SLOWLYDOLLIES R AROUNDTHEM SO THAT
THEYARE BOTHIN FG ANDCATHERINEIS IN
BG.
PARETTI
Look, uh, they dont seemto be Russian.
296
1450.14 1458.6 7.8
PARETTI TO MCCANN)
They dont seemto be Russian. Tadross
thinks maybeRumanian.
(They : The thieves/suspects)
297
1459.2
PARETTI TO MCCANN)
Thewitness is here.
(witness : referring to Crown)
298
1462.10 1465.14/ 3.4
Comeon in.
(in a darkenedroom, Crownlooks at
line-up of men- Dimetri is among
them)
299
1479.6
CROWNTO MCCANN)
Numberfour.
(note that Dimetri is number
four in the
line-up)
Tadross thinks maybeRumanian.

MCCANN
(overlapping)
Yeah?
PARETTI BENDSOVERTO WHISPERIN
MCCANNSEAR.
(whispering) The witness is here.
1461.10 2.8
MCCANN
(quietly) Right.
MCCANNCROSSESR AND EXITS FRAME AS
PARETTI TURNSTO CATHERINE, CAMERA
RACKINGFOCUSTO HER.
PARETTI
(chuckles) Comeon in.
CATHERINE
Mm-hm.
Yeah,thats right.
PARETTI USHERSCATHERINERFG OUT OF
FRAMEAFTER O.S. MCCANN.
1466-01
SCENE184 o INT. POLICESTATION/LINE-UP
VIEWINGROOM- DAY o MCS- LOOKING
THROUGHTHE WINDOWTO THE SUSPECTS
IN A LINE-UP AS CAMERA
PANSL OVER
THEMTO REVEALPETRUAND DIMETRI.
CAMERA
HOLDSON DIMETRI (WHOIS IN THE
FOURTHPOSITION), THEN RACKSFOCUSTO
REVEAL CROWNSFACE REFLECTEDIN THE
WINDOW,Lo
CROWN
(in reflection)
Numberfour.
1481.6
2.0
(2AB- 101)
R/2ABPI51
TITLE
NO.
MASTER
ENGLISHSUBTITLF.JSPOI-rlNGLIST
MCCANNSFACE BECOMESVISIBLE IN THE
GLASS,R.
MCCANN
(in reflection)
Youre sure?
CROWN
(in reflection)
Im sure.
300
1481.14 1483.14 2.0
MCCANNTO CROWN)
You sure?
301
1484.14
1486.6 1.8
CROWNTO MCCANN)
Im sure.
(McCanngestures to a form)
302
1490.6
1495.2 4.12
303
1496.14 1499.14/ 3.0
CROWNTURNS TO MCCANNAS CAMERA

PANSSLIGHTLYR WITH HIM.
MCCANN
(in reflection)
Okay.
1489-09
SCENE185 - MCS- PASTPARETTI, RFG, TO
MCCANNAND CROWNSTANDING IN FRONT
OF THE O.S. WINDOW,AS MCCANNHANDS
AN O.S.- FORMTO CROWN.OTHERCOPS
AND DETECTIVESARE STANDINGIN BG.
MCCANN
Wouldyou mind indicating that here?
CROWN
Certainly.
MCCANN
(overlapping)
Just checkit off.
MCCANNTO CROWN)
Couldyou indicate that here? Just check it
off.
(that : your decision)
(check it off : put a check marknext
to the numberyou have chosen)
(Crowndoes this)
CROWN
FILLS OUT THE O.S. FORMAS
CAMERARACKS FOCUS TO REVEAL
CATHERINESTANDING AT THE FAR CORNER
OF THE ROOMIN RBG.
CROWN
Sure. Mmohm.
MCCANN
(overlapping)
Andthen if you could sign downhere, please.
1500-02
MCCANNTO CROWN)
Then sign downhere, please.
(Crownsigns the form)
(ZAB- 102)

COMBINED
TITLE
NO.
MASTER
SCENE186 - MCS- LOOKINGTHROUGH

THE
GROUPOF DETECTIVES TO CATHERINE
WATCHINGO.S. CROWNFROMTHE CORNER
OF THE ROOM.
MCCANN
(off)
Andthese gentlemenll take you out, and finish
304
11500.6 1505.6
5.0
305
1505.12 1507.4/ 1.8
CROWNTO MCCANN)
Thankyou.
(Crownexits with the detectives
McCanngoes over to Catherine, who
is lookingat the police file)
306
/1507.10 1510.10 3.0
MCCANNTO CATHERINE)
Were gonnago beat up the Rumanians.
(gonna : going to)
(said humorously)
(McCann
takes the file from Catherine)
307
1511.0
1514.6
MCCANNTO CATHERINE)
I haveto just-- Thankyou.
Oust : note that McCann
stops
speakingbefore fully saying, just take
this from you)
308
1516.2
1518.2 2.0
309
1518.8 1520.12 2.4
the paperwork.Appreciate it, Mister Crown.
MCCANNTO CROWN)
Thesemenwill take you out to finish the
paperwork.
(These men: McCannindicates the
Detective andParetti)
CROWN
(off)
Thank you very much.
MCCANN
(off) (overlapping)
Thankyou.
1507-06
ROOM- DAY - MS - LOOKINGPAST SOME
DETECTIVES MOVING THROUGHTHE ROOM
TO CATHERINEAND MCCANNTALKING IN A
SMALL HALLWAY. CATHERINEIS LOOKING
DOWNAT A FOLDER.
MCCANN
Were gonnago beat up the Rumanians.
CATHERINE
Okay.
MCCANN
(overlapping)
Im gonnahave to just--
Could you? Thankyou.
3.6
MCCANNTAKES THE FOLDER AWAY FROM

CATHERINE,THEN EXITS R DOWNTHE HALL.
CATHERINESTARTS TO FOLLOW, THEN
STOPSAND TU~RNSAWAY.
CATHERINE
(sighs) Well-- Wait a minute. Im gonnago get
somecoffee.
CATHERINE WALKS RFG THROUGHTHE
SQUADROOM, CAMERADOLLYING BACK
WITH HER. SHE LOOKSOVERAT O.S.
CROWN
AS HE IS INTERVIEWED.
CROWN
(off)
That about sumsit up, gentlemen.
CATHERINETO .MCCANN)
I needsomecoffee.
(Catherine goes into the squadroom,
whereCrownis talking to the Detective
andParetti - she slowly p(~ursherself
somecoffee so she can eavesdrop)
CROWNTO DETECTIVES)
That about sumsit up.
(i.e., WhatI havejust told youpretty
muchsummarizeswhat I saw.)
(2AB- 103)

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOTrlNGLIST
MUSEUM
DETECTIVE(off)
Andyoudbe willing to testify...
310
1521.2 1523.8
(over sceneend)
2.6
311
1523.14 1525.14 2.0
CROWNTO DETECTIVE)
Absolutely.
312
1526.4 1532.10/ 6.6

(over sceneends)
PARETTI TO CROWN)
Mr. Crown,people like this might have
friends.
(like this : suchas these suspects)
(friends : implying, dangerous
associates)
313
1533.6
PARETTI TO CROWN)
Theymight try to makeit ugly for a
witness.
(makeit ugly for a witness: i.e., use
threats or violenceto intimidate a
witness)
314
1538.2 1545.2
(over scene end)
1522-11
DETECTIVE TO CROWN)
Youdtestify to that?
(i.e., Youdtestify in court aboutwhat
you saw?)
SCENE188 - MFS- PAST CATHERINES

TORSO,TIPPED IN LFG, TO PARETTI, THE
MUSEUMDETECTIVE AND SEVERAL OTHER
DETECTIVES GATHEREDAROUNDCROWN-AT
A DESK, R, AS CATHERINEWALKSTHROUGH
THE SQUADROOMPAST THEM, CAMERA
FOLLOWINGHER.
MUSEUMDETECTIVE
...to that?
CROWN
Sure, absolutely.
PARETTI
Mister Cr-...
1526-14
SCENE189 - MCS- CROWN,SEATED, LOOKS
UP L AT O.S. PARETTI.
PARETTI
(off)
...-own, I haveto tell you...
1529-00
DOLLIESIN ON
THE MUSEUMDETECTIVE, PARETTI AND
CROWNAT THE DESK. A FEMALECOP IS
SEATEDL WITH THEM.
PARETTI
...people like this, they mighthavefriends.
1532-12
TILTS UP FROM
CATHERINES TORSOTO HER FACE AS SHE
STOPS AT A SMALL COUNTERTO POUR
HERSELFA CUP OF COFFEEWHILE
EAVESDROPPINGON THE CONVERSATION.
1537.12 4.6
PARETTI
(off)
Yourealize they might try to makeit ugly for a
witness.
CROWN
(off)
Yeah, well, I understand,gentlemen.A-...
1540-05
7.0
CROWNTO DETECTIVES)
I understand.I guessIll just take my
chances.
(take mychances: colloquial for,
accept the risks inherent in this
situation)
(2AB- 104)
R/2AB PI54
TITLE
NO.
MASTER
LOOKSLFG AT THE
O.S. DETECTIVES.
CROWN
...-nd, uh, I guessI11, uh, Ill just takemy
chances.
1545-08
SCENE193-MS-CAMERA SLOWLY DOLLIES
IN ON CATHERINEAS SHE PREPARESHER
COFFEE AT THE COUNTERAND
EAVESDROPS.
PARETTI(off
Wellnailthesejokers.
315
/1545.10 1548.0
2.6
316
1548.6
1553.41 4.14
(over sceneend)
CROWN(off
I cant imagine somebody
thinking they could get
away...
1550-t5
SCENE194 - CS - CAMERASLOWLYDOLLIES
IN ON THE SIDE OF CATHERINESFACEAS
SHE EAVESDROPS.
PARETTI TO CROWN)
Well nail thesejokers.
(slang for, Well apprehend
these
foolish criminals.)
CROWNTO PARETTI)
I cant imagine someone
getting awaywith
this.
(getting awaywith this : i.e.,
escapingunpunishedfor this crime)
(Catherinereturns to the hall as
McCann
comesout of the interrogation
room)
CROWN
(off
...with a thing like this.
1553-06
SCENE195 - INT. POLICESTATION/SQUAD
ROOM- MOMENTS
LATER- FS CATHERINES POV o LOOKINGDOWN
THROUGHSOME WINDOWBLINDS TO THE
STREETAS CROWN,LEAVING THE STATION,
TROTSOVER TO THE OPPOSITESIDEWALK.
PEOPLEIN POLICESTATION(off)
1558-00
SCENE198 - MCS- CATHERINESIPS HER
COFFEEWHILE STARINGOUT THE O.S.
WINDOW.POLICE ARE WORKINGIN BG.
1562-05
(2AB- 105)

TITLE
NO.
MASTERENGLISHSUBTITL~SPOTrlNGLIST
SCENE197 - ECS - LOOKINGOVERTHE TOP

OF THE COFFEECUP TO CATHERINES EYES
AS SHE SIPS THE COFFEEAND STARES
DOWNAT O.S. CROWN.
COPAT STATION(off)
(low) Oh, yeah, whatd they find?
1566-11
SCENE198 - FS - CATHERINES
POVLOOKING DOWNTHROUGHTHE WINDOWTO
THE STREET AS CROWNWALKSACROSSIT
TO HIS WAITING LIMOUSINE. HIS DRIVER
OPENSTHE DOORFOR HIM.
1572-09
SCENE199 - INT. POLICESTATION/HALLWAY
- DAY - MFS - LOOKINGDOWNTHE HALLWAY
TO THE SUSPECTSFROMTHE LINE-UP AS
PARETTI AND OTHERCOPS HANDCUFF
.THEM. JANOS, PETRU,DIMETRI, AND IGGY
ARE AMONGTHEM.
DIMETRI
(in Eastern Europeanlanguage- continues under
1578-09
SCENE200 - MCS: CATHERINESTANDSIN
THE HALL, SIPPING HER COFFEEAS SHE
LOOKSRFGAT THE O.S. SUSPECTS.
MCCANNIS WALKING DOWNTHE HALL FROM
RFGTO JOIN HER.
317
/1578.12 1581.0
318
1581.12 1587.12 6.0
MCCANNTO CATHERINE)
Notin English. Werestill trying to find
someone
to translate.
319
1590.8
1592.10 2.2
CATHERINETO MCCANN)
Let metry.
meyou knowhow to speak Rumanian. 320

1597-03
1594.2
1597.2/ 3.0
MCCANNTO CATHERINE)
Dont tell meyou speak Rumanian.
CATHERINE
Theysayanythingyet?
2.4
CATHERINETO MCCANN)
They say anything yet?
(They : The thieves/suspects)
MCCANN
Notin English.
MCCANNSTOPS L BESIDE CATHERINEAND
TURNSTO LOOKBACKAT THE O.S.
SUSPECTS.
MCCANN
(contd)
Theyrestill trying to find somebody
to translate.
CATHERINE
(sipscoffee) Let metry.
MCCANN
Do not tell
(2AB- 106)
R/2AB PI56
COMBINED
TITLE
NO.
MASTERENGLISH SUBTITLE/SPOTnNG
LIST
SCENE201 - MS - CATHERINESPOVLOOKINGAT THE CROWDOF DETECTIVES,

COPS AND SUSPECTSAS TWOOF THE COPS
DRAGDIMETRI LBG OUT OF THE GROUP.
CAMERAPANS WITH THEM TO REVEAL
JANOSSTANDINGQUIETLY AT THE SIDE OF
THE HALL, HELDBY ONLY ONEDETECTIVE.
321
CATHERINE
(off)
Oh, God, who would ever bother with Rumanian?
1597.8
1601.10 4.2
CATHERINETO MCCANN)
Oh, who would bother with Rumanian?
(the thieves are led out of the
interrogation room)
1603.4
1605.12 2.8
Give methe quiet one.
(i.e., Let mequestionthe quiet one.
referring to Janos)
SECURITY
GUARD(overlapping)
(low andindistinct)
1602-13
SCENE202 - CS - MCCANNAND CATHERINE
LOOKRFG AT THE O.S. SUSPECTS.
CATHERINEPOINTS AT O.S. JANOS.
CATHERINE
Give methequietone.
322
MCCANN
Okay.
1808-12
1596-12
END OF REEL 2AB
END OF REEL 2AB
(2AB- 107)
R/3ABPI1
START MEASURING
0.01 AT STARTMARKIN
ACADEMY
LEAE~ER.
12-00
SCENE1 - INT. POLICESTATION/
INTERROGATIONROOM- DAY- MS - PAST
CATHERINESTORSO,TIPPED IN LFG, TO
JANOS, WHOIS SEATEDBEHIND A SMALL
TABLE.
16-07
TITLE:
NO.
LIST
16.7 = 1ST SCENEEND
23.0 = 2ND SCENEEND
28.2 = 3RD SCENEEND
SCENE2 - MFS- PASTJANOS, RFG, TO

CATHERINE, STANDINGAGAINST THE FAR
WALL, AND PARETTI SEATEDBESIDE HER.
SHE LOOKSUP FROMJANOSS FILE, WHICH
SHE HAS BEEN READING.
CATHERINE
Vous aimezles ~tats-Unis?
23-00
SCENE3 o MS - PAST CATHERINESTORSO,
TIPPED IN LFG, TO JANOSBEHINDTHE
TABLE. HE DOESNT RESPOND.
28-02
SCENE4 - MS - CATHERINEGLANCESDOWN
AT THE FILE, THENLOOKSRFGAT O.S.
JANOSAGAIN.
CATHERINE
SehenSie gemGangster Filme? (chuckles)
35-04
SCENE5 - MS - PAST CATHERINESTORSO,
TIPPED IN LFG, TO JANOSBEHINDTHE
TABLE. HE GRINS WITHOUTLOOKINGUP.
JANOS
(chuckles)
CATHERINE
(face off)
Mih..
40-01
SCENE6 - MCS- CATHERINESMILES RFGAT
O.S. JANOSAND STARTSTO APPROACH
HIM.
CATHERINE
...Edward G. Robinson.
45-10
(3AB- 108)
R/3ABPJ2
TITLE
NO.
MASTER
LIST

LFG, TO JANOSBEHINDTHE TABLE AS
CATHERINE APPROACHES
HIM, CAMERA
DOLLYINGIN WITH HER.
CATHERINE
(face off)
Seine Familie stammtaus Rumaenien.
JANOSLOOKSUP AT CATHERINEAND
RESPONDS
AS SHE GETS CLOSERTO HIM.
JANOS
Ich will einen Rechtsanwalt.(smackslips)
CAMERAHOLDSON JANOS IN MCS AS
CATHERINESTOPS DIRECTLY IN FRONTOF
HIM.
CATHERINE
(face off)
AberSie sind do-...
62-06
SCENE8 - MS - PASTJANOS, RFG, TO
CATHERINEAS SHE LEANS DOWNON THE
O.S. TABLE OPPOSITEHIM. CAMERA
CRANESDOWNAND DOLLIES IN ON HER.
CATHERINE
...-ch kein Staatsbuerger. Hm?Da gibts keinen
Prozess...
75-12
SCENE9 - MCSo PAST CATHERINESTORSO,
LFG, TO JANOSSTARINGUP AT HER, SAYING
NOTHING.
CATHERINE
(face off)
...Sie werdenganzeinfach deportiert.
85-11
SCENE10 - MCS- PAST JANOS, RFG, TO
CATHERINE.
CATHERINE
Rumaenenohne Ausweise machenuns nervoes.
91-06
SCENEtl o MCS- PAST CATHERINES
TORSO,LFG, TO JANOS.
CATHERINE
(face off)
Nervoes.
97-11
(3AB- 109)
R/3ABPI3
COMBINED
TITLE
NO.
MASTER
ENGLISH
SUBTITLF.JSPOI-rlNGLIST
SCENE12 - MCS- PAST JANOS, RFG, TO

CATHERINEAS SHE LEANS VERY CLOSE TO
HIM, WHISPERING
RIGHT INTO HIS EAR.
CAMERADOLLIES IN ON HER.
CATHERINE
Die koenntenSecuritate sein. Mm.
110-11
SCENE13~- CS - JANOSSTARESOFF
TENSELYAS CATHERINECIRCLES BEHIND
HIM, BENDINGDOWNTO SPEAKIN HIS
OTHEREAR.
CATHERINE
Deine Regierung nimmt Geheimpolizei.
CATHERINEGENTLY TAKES HOLD OF
JANOSSCHIN AS IF TO KISS HIM, THEN
SUDDENLYJERKS HIS HEADTO ONE SIDE.
JANOS.
(grunts - continues underfollowing scene)
121-12
SCENE14 - CS - LOOKINGAT THE SIDE OF
JANOSS FACE AS CATHERINESHAND
HOLDSHIS HEADBACK.
CATHERINE
(off)
Wasdie...mit Dir...
130-09
SCENE15 - CS - JANOSGRIMACESAS
CATHERINESLIPS WHISPERIN HIS EAR.
CATHERINE
...machen. Hm?(chuckles)
140-06
SCENE16 - INT. POLICE STATION/MCCANNS
OFFICE- DAY - MCS- CAMERA
DOLLIESIN
AND TILTS UP FROMTHE CLUTTEREDDESK
TO MCCANNSEATEDBEHIND IT AS HE
LOOKSUP RFGAT O.S. CATHERINE,WHOIS
ENTERING THE ROOM.
CATHERINE
(off)
They do speak English.
323
141.11
143.13/ 2.2
Theyspeak English.
(note that Catherinespoketo Janosin
Germanin the interrogation roomand
convinced him to reveal what he
knew- she now reports to McCann)
143-13
(3AB- 110)
~THE THOMASCROWN
AFFAIR"
R/3AB PI4
TITLE
NO.
LIST
SCENE17 - MS - PAST MCCANN,SEATED

LFG, TO CATHERINEAS SHE STOPSIN
FRONTOF HIS DESKAND LEANSON IT,
SMILING SMUGLY.
CATHERINE
It wasa pre-packagedrobbery. He picked them
324
145.7
148.11
3.4
CATHERINETO MCCANN)
It wasa pre-packagedrobbery.
(It : The Monetrobbery)
(pre-packagedrobbery : dryly
meaningthat all elementsof the
robbery were already planned and
taken care of by someoneelse, then
presentedto Dimetri and the others)
325
149.7
153.13
(over scene end)
4.6
CATHERINETO MCCANN)
He hired themin Little Odessa,gave them
timetables-(He : The mastermind behind the
robbery)
(Little Odessa: section of Brooklyn
with a heavily Russianpopulation,
namedafter the seaport and province
in Ukraine)
(timetables : i.e., schedulesfor the
robbery)
326
154:3
155.15/ 1.12
327
159.7
161.15
up in Little Odessa.Theywere given time-...

153-00
SCENE18 - MS - MCCANNLOOKSRFG
ACROSSHIS DESK AT O.S. CATHERINEAND
INTERRUPTSHER.
CATHERINE
(off)
...-tables, electrical-MCCANN
(overlapping)
Okay, whos "he"?
156-00
SCENE19 - MCS- CATHERINEPAUSESA

MOMENT,THEN TURNS AND STEPS BACK TO
TAKE A SEAT AS CAMERA
DOLLIES L PAST
MCCANNSBACK IN FG, MOVINGOFF HER.
CATHERINE
Ah. Youdontthinktheyknow,
MCCANNTO CATHERINE)
Whos"he"?
doyou?
CATHERINEPUTS HER BARE LEGS UP ON

THE DESK AS CAMERAHOLDSON THEM.
CATHERINE
(face off) (c0ntd)
I mean,there were intermediaries. Theynever
328 162.7
2.8
167.9/ 5.2
sawhis face, (on) never heardhis voice.

CAMERAPANS R ALONGCATHERINES LEGS
AND TILTS UP TO FULLY INCLUDE HER, NOW
SEATEDIN A CHAIR.
167-10
CATHERINETO MCCANN)
Do you think they know?
There were intermediaries. They never
saw or heard him.
(him : the manwho hired them)
SCENE 20-Ms-LOOKING OVER

CATHERINES LEGS TO MCCANNON THE
OTHERSIDE OF THE DESK.
MCCANN
One-timehires. Thats whythey failed.
329
170-14
/167.14 170.14/ 3.0
MCCANNTO CATHERINE)
One-timehires. Of coursethey failed.
(One-timehires : Personshired for
onejob)
(3AB- 111)
"THE THOMASCROWN
AFFAIR"
R/3AB PI5
TITLE
NO.
MASTER
LIST
SCENE21 - MS - CATHERINE,WITH HER

LEGS UP ON THE DESK, LOOKSRFG AT O.S.
MCCANN.
CATHERINE
Whatmakesyou think they failed?
330
173.9
175.9/
331
179.11 184.11/ 5.0

(over scene end)
2.0
Youthink they failed?
178-10
SCENE22 - MS - LOOKINGOVER
CATHERINES LEGS TO MCCANNAS HE
SHRUGS.
CATHERINE
(face off)
Oh, maybeit wasa successful robbery. M-...
182-02
Maybe
they wereset up to fail.
(set up : manipulatedinto a position)
SCENE23 - MS - CATHERINELOOKSRFGAT
O.S. MCCANN.
CATHERINE
...-aybe they wereset up to fail..
184-12
332 186.7
189.7/
3.0
333
/189.13
194.13
5.0
CATHERINETO MCCANN)
Makea lot of noise over there, so over
here...
(over there : referring to onepart of
the gallery)
(over here : referring to the part of
the gallery where the Monetwas hung)
334
195.3
200.11
5.8
CATHERINETO MCCANN)
...you take $100million off the wall and
waltz out the door.
($100million : a $100million
painting)
(waltz out : leave in a carefree
manner)
335
202.3
204.3
2.0
CATHERINETO MCCANN)
That is good.
(i.e., Thatplan is certainly clever.)
336
204.9
208.9/
(over sceneend)
4.0
MCCANNTO CATHERINE)
Well,oncehetries to sell it, well nail him.
(he : the manwho has the Monet)
(nail: slang for, apprehend)
(Catherinethinks)
SCENE 24-MCS-MCCANN LOOKS LFG AT

O.S. CATHERINE.
MCCANN
Why?
CATHERINE
(off)
Diversion.
189-11
SCENE28 - MCS- CATHERINELOOKS
AROUNDTHE ROOMAS SHE EXPLAINS.
CATHERINE
Makea lot of noise over there, so over here in
this roomyou can take a hundredmillion off the
McCANNTO CATHERINE, THEN

CATHERINETO MCCANN)
-VVhy?
-Diversion.
wall andwaltz right out the front door. (inhales)

Oh, thats good.
MCCANN
(off)
Doesntmatt-...
204-15
(3AB- 112)
R/3AB PI6
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITL~SPOI"rlNGLIST
SCENE26 - MS - LOOKINGOVER
CATHERINES LEGS TO MCCANN.
MCCANN
...-er, ~:auseas soonas hetries to sell it, wenail
him.
CATHERINE
(face off)
(chuckles - continues under following scene)
208-11
SCENE27 - MS - CATHERINETAKESHER
LEGS DOWNOFF THE DESK AND STARTS TO
GET UP.
CATHERINE
Oh.
212-09
SCENE28 - MCS- MCCANNSTARES
CURIOUSLYAT CATHERINEAS SHE EXITS R
IN FG, LEAVINGTHE OFFICE.
217-01
SCENE29 - INT. POLICESTATION/KITCHEN
DAY - MCS- CATHERINESHANDPOPSOPEN
A CANOF PEPSI, THEN CAMERA
TILTS UP TO
HER FACEAS SHE GULPSIT ALL DOWN..
CATHERINE
(drinks - continues underfollowing scenes)
CAMERAPANS R AND TILTS DOWN,OFF
CATHERINESFACE, TO REVEALPARETTI
SEATEDAT A SMALL TABLE, STARINGUP AT
HER IN BEWILDERMENT.HE GLANCESRFG
AS O.S. MCCANNENTERSTHE ROOM.
227-08
SCENE30 - MS - MCCANN
PAUSESIN THE
DOORWAY
AND EXCHANGESA GLANCE WITH
O.S. PARETTIBEFORELOOKINGLFG AT O.S.
CATHERINE.
231-11
(3AB- 113)
R/3ABP/7
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOTtINGLIST
SCENE31 - MCSo CATHERINEFINISHES

DRINKING ALMOSTTHE ENTIRE CAN OF
PEPSI, THEN CATCHESHER BREATHAND
TURNSRFG TO O.S. MCCANN.
CATHERINE
(exhales) Hes not gonnasell.
337
239.11
242.11
2.6
Hesnot goingto sell.
(sell i.e., sell the painting)
338
243.3
245.3
2.0
MCCANNTO CATHERINE)
Hes not?
339
245.11 252.3
(over scene end)
6.8
This is an elegant crime, doneby an
elegant person. Its not about money.
(Its not about money
: i.e. This
crime wasnt committedin order to
makemoney)
340
252.11 258.15/
(over sceneend)
6.4
MCCANNTO CATHERINE)
Sowhosgoingto risk prison to steal a
Monet...
(prison : going to prison)
(Monet: see Title #34)
CATHERINE GULPS DOWNSOME MORE

PEPSI.
CATHERINE
(contd)
(drinks)
242-02
SCENE32 - MS - MCCANN,IN THE DOORWAY.
STARESLFG AT O.S. CATHERINE.
MCCANN
Hes not?
CATHERINE
(off)
Mm-mm.
This is an elegant crime...
247-08
SCENE33 - MCS- CATHERINEPACESBG.
SHAKING HER HEAD AND GESTURINGWITH
THE PEPSI CAN.
CATHERINE
...done by an elegant person. Its not about.the
money.
CATHERINE PAUSES AND GULPS DOWNTHE
LAST OF THEPEPSI.
CATHERINE
(contd)
(drinks - continues under following scenesand
dialogue)
MCCANN
(off)
Okay,so...
253-14
SCENE 34- MS- MCCANNSTEPS FURTHER
INTO THE ROOMoSTOPPINGIN
MCS.
MCCANN
...whos gonnarisk prison to steal a Mone-...
259-00
(3AB- 114)
R/3ABPI8
COMBINED
TITLE
NO.
MASTER
LIST
SCENE36 - MS - PAST MCCANN,RFG, TO

CATHERINEAS SHE FINISHES THE PEPSI
AND SETS THE CAN DOWNOUT OF FRAME.
MCCANN
...-t just to not sell it?
CATHERINE
(smackslips) A Monetlover. (smackslips)
341
260.7
262.15
2.8
342
263.7
265.11
2.4
343
267.15
270.15 3.0
(over scene end)
Whosdesk is that?
(Paretti doesnt havetime to answer)
344
271.5
4.0
CATHERINETO PARETTI, THEN

-CanI use it?
-Sure.
(Catherine headsto the computerat
the desk)
345
278.13
5.4
CATHERINETO MCCANN)
Lets checkeverymajor auction in the last
5 years.,.
346
284.7
4.12
CATHERINETO MCCANN)
...and see whos beenbidding on Monets.
(a short while later, Catherineenters
McCanns
office with a printout)
CATHERINEPOINTS RFG PAST MCCANN.
MCCANNTO CATHERINE)
...just to not sell it?
A Monetlover.
(Catherinepoints to a desk- Paretti
has joined them)
CATHERINE
(contd)
Uh, whosedeskis...
269-07
SCENE36 - MFS - CATHERINEWALKSRFG
PAST MCCANNTOWARDTHE O.S. DESK AS
PARETTI LOOKSON FROMHIS TABLE IN
RBG, GESTURINGHELPLESSLY. CAMERA
DOLLIES BACK SLIGHTLY WITH CATHERINE.
CATHERINE
...that?
PARETTI
Um
....
CATHERINE
CouldI use it?
275.5
CATHERINETAKES OFF HER JACKET AND

PULLSA CHAIR UP TO THE O.S. DESKAS
CAMERAHOLDSIN MS.
PARETTI
Well, yeah, uh, sure.
CATHERINE
Oh, great.
CATHERINESITS DOWNAT THE O.S. DESK
AND STARTS TYPING ON A COMPUTER,
WHICHIS TIPPED IN RFG.
CATHERINE
(contd)
Okay,lets dig up every major auction in the last
284.1
five years and see whos beenbidding on

Monets.
290-05
289.3
(3AB- 115)
R/3AB PI9
TITLE
NO.
MASTER
LIST
SCENE37 - INT. POLICESTATION/KITCHEN

LATER- MCS- CATHERINETURNSA
COMPUTERPRINT-OUT TO FACE CAMERA.
IT IS A LIST OF AUCTION
BIDS.
CATHERINE
See anyone we know?
347
291.13
293.9/
1.12
See anyone we know?
(she points to a nameon a page)
348
294.7
296.7/
2.0
NARRATIVE
TITLE) (of section of printout)
Bidder: ThomasCrown
349
297.3
350
303.7
306.7
(over sceneend)
3.0
MCCANNTO CATHERINE)
Hes a finance geek.
(geek : slang for, socially awkward
personof anintellectual bent)
(finance geek : McCannsslang term
for someone
whohas few social skills,
but whois extremelyadept at finance)
351
306.13
1.12
CATHERINETO MCCANN)
Is he?
(in flashback, Catherinerecalls
watching Crownsailing a catamaran
there is another catamaranaheadof
Crowns, and he and his crew attempt
to overtakeit - Crowngets his
catamarantilted precariously to one
side to better catch the wind)
293-09
SCENE38 - ECS - CAMERA
RAPIDLYTILTS
DOWNTHE LIST TO REVEAL AN ENTRY
READING:
ClaudeMonet, The RedK [off screen]
Value: est. L1.2.8-3.8millio [off screen]
Bidder: ThomasCrown
MCCANN
(oil)
(scoffs)
296-09
SCENE39 - MCS- PAST CATHERINE,LFG, TO

MCCANNAS HE LOOKSUP FROMTHE O.S.
LIST.
MCCANN
Him?A big day for this guys taking off histie.
302.15 5.12
Hesa fina-...
304-06
SCENE40 - MCSo PAST MCCANN,RFG, TO
CATHERINESWIVELING BACK AND FORTHIN
HER CHAIR. PARETTI (TORSO) IS STANDING
BEHIND HER.
MCCANN
...-nce geek.
CATHERINE
Is he?
MCCANNTO CATHERINE)
Him?A big day for this guy is taking off
his tie.
(big : exciting)
(sarcastically implying that Crown
leads a rigidly regimented,
conservativelifestyle)
310-01
SCENE41 - FLASHBACK
BEGINS- EXT.
OCEAN- DAY - LS - LOOKINGACROSSTHE
WATERTO MANHATTANIN THE DISTANCE.
CAMERASWOOPSDOWNTO REVEAL A
CATAMARANMOVING R ACROSSTHE WATER
IN FG. CROWN
IS PERCHEDOUT ON A JIB
ARM.
326-03
308.9
(3AB- 116)
"THE THOMASCROWNAFFAIR" R/3AB PII0

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"FING
LIST

DOWNAT CROWN
ON THE JIB ~,RM.
MANON CROWNSBOAT(off)
Hows that?
CROWN
Yeah!
MANON CROWNSBOAT(off)
(laughs)
CAMERASWOOPS
UP INTO A HIGH ANGLE
VIEW OF THE ENTIRE CATAMARAN,THEN
TILTS UP WITH IT AS IT SPEEDSBG ACROSS
THE WATER.
MANON CROWNS
BOAT(contd)
Go, go!
CAMERA SWOOPSDOWNAND CONTINUES
TILTING UP TO REVEALANOTHER
.CATAMARANAHEADOF CROWNSIN BG.
CROWNSBOAT IS PURSUINGIT.
351-07
SCENE43 - FS - PASTTHE RIVAL
CATAMARANTO CROWNSCATAMARANAS IT
RACESR PAST IT IN BG, CAMERA
MOVING
WITHIT.
MAN ON CROWNSBOAT
Whoo-hoo!
356-00
SCENE44 - MFS - CAMERAFOLLOWSCROWN
RIDING L ON THEJIB ARM.
359-14
SCENE45 - MFS- CAMERAMOVESL
AROUNDTHE REAR OF CROWNS
CATAMARAN
AS IT MAKESA TURN. THE
RIVAL CATAMARAN
IS ALSOTURNINGL IN
BG, PULLING AHEADOF CROWNSBOAT.
MAN ON CROWNSBOAT
Yeah!
364-14
SCENE46 - MFS - CAMERASOARSL AROUND
THE REAR OF THE RIVAL CATAMARAN
AND
RISES UP INTO FS AS IT CONTINUES
PULLING AHEADOF CROWNSO.S. BOAT.
368-06
(3AB- 117)

TITLE
NO.
MASTER
LIST
SCENE47 - MFS - CROWNSCATAMARAN

SPEEDS R PAST CAMERAWITH CROWN
HANGINGFROMTHE JIB ARM.
MANON CROWNS
BOAT(off)
(cries out)
370-06
SCENE48 - FS - CATHERINESPOVLOOKING THROUGHBINOCULARS TO
CROWNSCATAMARAN
AS IT GLIDES R
ACROSSTHE WATER, CAMERAPANNING
WITHIT.
374-06
SCENE49 - EXT. YACH
DECK- DAY- MSCATHERINEIS STANDINGON THE DECKOF A
YACHT WITH A GRAY-HAIREDGENTLEMAN,
LOOKING THROUGHBINOCULARS AS HE
POINTS AT O.S. CROWN.ANOTHER WOMAN
IS STANDING
IN LBG.
379-11
SCENE50 - EXT. OCEAN- DAY- MLSCAMERA FOLLOWSTHE TWO CATAMARANS
AS THEYRACERBG SIDE BY SIDE.
383-03
SCENE51- MFS - CAMERAMOVESBACK ""
WITH THE RIVAL CATAMARAN
AS IT
SPLASHES THROUGHSOME SWELLS.
CROWN
(off)
Keepit up!
351A 386.10 388.6

385-14
SCENE52 - MS - CROWN,ON THE JIB ARM,

SHOUTSBACKL AT HIS O.S. CREW.
1.12
CROWNTO CREW)
Keepit up!
(it : referring to the catamaran)
(up : referring to howone side of the
catamaran
is tilted high up in the air)
(Crownthen rushesto turn a crank to
raise anothersail)
CROWN
Easeitup.
388-07
SCENE53 - MLS - CATHERINESPOVCAMERA FOLLOWSTHE TWO CATAMARANS
AS THEY RACE THROUGHTHE SWELLS,
BOTH OF THEM PITCHING PRECARIOUSLY
TO ONE SIDE. THE RIVAL CATAMARAN
STARTSTO RIGHT ITSELF.
393-10
(3AB- 118)
R/3AB PI12
TITLE
NO.
MASTER
ENGLISH
SUBTITLF.JSPOIrlNGLIST
SCENE54 - EXT. YACHTDECK- DAY- MS CATHERINEAND THE GRAY-HAIRED

GENTLEMA~qWATCHWITH AMUSEMENT,
CATHERINE LOOKING THROUGH
BINOCULARS.THE OTHERWOMANIS IN
LBG.
CATHERINE
Whoa!(chuckles)
397-14
SCENE55 - EXT. OCEAN
- DAY - MLS- THE
TWO CATAMARANSRACE LFG, CROWNS
BOAT STILL PITCHING PRECARIOUSLY
SO
THAT CROWN
IS HIGH UP IN THE AIR.
402-02
SCENE55 - MFS - CAMERA
CIRCLESL
AROUNDA CREWMEMBEROF THE RIVAL
BOAT AS HE TURNSA CRANK.
407-03
MOVESL PAST
THE FRONTOF CROWNSCATAMARAN
AS IT
COMESDOWNFULLY ON THE WATER,
RIGHTINGITSELF.
412-05
SCENE58- FS - HIGH ANGLE- LOOKING
STRAIGHT DOWNFROMTHE TOP OF THESAIL TO CROWNSCATAMARAN.CAMERA
MAKESA SUDDENRISE AND SPINS AROUND,
PANNINGL OFF THE BOAT.
416-04
SCENE59 - MFS - ONE OF CROWNSCREW
MEMBERSSCRAMBLESL ACROSSTHE
CATAMARAN
TO THE OPPOSITESIDE AS THE
RIVAL CATAMARAN
PULLS AHEADIN BG.
CROWNENTERS R AND SOMERSAULTS
AFTER THE CREWMAN.
CROWN
No! Wait!
420-02
(3AB- 119)

TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI-rlNGLIST
LEAPS UP FROM
HIS SOMERSAULT,
CAMERATILTING UP WITH
HIM INTO MCS. HE GRABSAN O.S. CRANK
ANDSTARTSTURNINGIT FRANTICALLY.
3521; 422.6
CROWN
Comeon, get it up!
CAMERATILTS DOWNTO THE CRANKAS
CROWNCONTINUESTURNINGIT.
CROWN
(face off) (contd)
Yes,lets go!
426-03
SCENE81 - MFS - CROWNSCREWMEN
UNFURLA LARGERED SAIL AS O.S. CROWN
CRANKS
IT UP.
430-15
426.2/
3.12
CROWNTO GROUP)
Come
on, get it up!
(Comeon :i.e., Hurry)
(it : referring to the sail he wantsto
raise)
(Crownand his crew raise another sail,
and his catamaranfinally overtakesthe
other boat, tilting evenmore
precariouslyas it doesso - finally, it
flips over completely, dumpingCrown
and his crew in the water - Crownis
merely amusedby this)
SCENE62 - MS - THE REDSAIL TAKESTHE

WIND AND BILLOWS OUTWARD
AS IT RISES
FULLY ON THE MAST, CAMERATILTING UP
WITHIT.
434-08
SCENE63 - MFS- CAMERATILTS DOWN
FROMTHE BILLOWING SAILS TO CROWN
AND HIS CREWAS A CREWMAN
TURNS THE
CRANK. (CROWNIS NOWPERCHEDOUT ON.
THE JIB ARM AGAIN.) CAMERATHEN
CIRCLES R AROUNDTHE BOAT AND TILTS
DOWNTO THE FIN STICKING HALFWAYOUT
OF THE WATER.
442-07
SCENE64 o MS - CAMERA
TILTS UP FROM
THE WATERTO THE RED SAIL FULLY TAKING
THE WIND.
445-06
SCENE66 - FS - LOOKINGPAST THE RIVAL
CATAMARAN
TO CROWNSAS IT STARTS
PULLINGAHEADL, ITS REDSAIL TAKINGTHE
WIND. CAMERAPANS WiTH CROWNSBOAT.
450-12
(3AB.- 120)

COMBINED
TITLE
NO.
MASTER
LIST
SCENE66 - FS - CROWNSBOAT MOVES

AWAY FROMCAMERA, PULLING AHEAD OF
ITS O.S. RIVAL, AS CROWN
HANGSFROM
THE JIB ARM. CAMERAFOLLOWSTHE BOAT.
CROWN
Ycah!
MAN ON CROWNSBOAT
Whoo!
CROWNSBOAT STARTSTO PITCH AGAIN AS
IT PULLS FURTHERAWAYFROMCAMERA.
472-06
SCENE67 - MLS- CATHERINES
POVCAMERAMOVESR WITH CROWNS
CATAMARAN
AS IT CONTINUESTO PITCH.
464-12
SCENE68 - EXT. YACHT.DECK
- DAY- MS CATHERINEAND THE GRAY-HAIRED
GENTLEMANWATCHFROMTHEIR DECK, THE
WOMANWATCHINGAS WELL IN LBG.
CAMERAMOVESIN ON CATHERINEAS SHE
LOWERSHER BINOCULARS, REACTING WITH
AMAZEMENT.
468-04
SCENE69 - EXT. OCEAN
- DAY- MLSCATHERINES POV : CAMERAMOVESR WiTH
CROWNSCATAMARAN
AS IT PITCHES
COMPLETELYTO ONE SIDE. CREWMEN
START LEAPING INTO THE WATER,
ABANDONINGIT, BUT CROWNREMAINS
PERCHEDHIGH UP ON THE JIB ARM.
472-06
SCENE70 - MLS - CROWNSCATAMARAN
TILTS OVERCOMPLETELY,CAPSIZING, AS
THE RIVAL CATAMARAN
PULLS AHEAD.
CROWN
(yells)
THE JIB ARMBREAKSOFF THE BOAT, AND
CROWNGOESPLUNGINGDOWNWITH IT.
482-13
(3AB- 121)
"THE THOMAS
CROWN
AFFAIR"
R/3AB P115
TITLE
NO.
LIST
SCENE71 o EXT. ,YACHTDECK- DAY- MC$

CATHERINE LOWERSTHE BINOCULARS,
AMAZED, AS THE GRAY-HAIREDGENTLEMAN
LOOKSON BESIDE HER. THE OTHER
WOMAN
IS TIPPED IN LBG. FLASHBACK
ENDS.
488-02
SCENE72 - INT. RESTAURANT
- DAY - MCSCATHERINE,SEATEDAT AN O.S. TABLE,
LOOKSRFG AT O.S. MCCANN.OTHER
RESTAURANTPATRONSARE SEATED AT
TABLESIN BG.
PEOPLEIN RESTAURANT
(faces off)
(low and indistinct chatter - continuesunder
CATHERINE
I sawhim wreck a hundredthousanddollar boat
352
/488.5 495.1
(over sceneend)
6.12
CATHERINETO MCCANN)
I saw him wreck a $100,000 boat because
he liked the splash.
(wreck : ruin- destroy)
353
495.7 500.11
(over sceneend)
5.4
MCCANNTO CATHERINE)
Youknowwhat kind of flesh-eating lawyers
this guy has?
(flesh-eating colorful termfor,
vicious andruthless)
(this guy : referring to Crown)
354
502.3 505.3/
(over sceneend)
3.0
MCCANNTO CATHERINE)
Plus political connections.
(political connections: personal,
social or professionalrelationships to
personswith political power)
(Catherine merely shrugs)
becausehe liked the...

493-12
SCENE73 - MCSo MCCANN,SEATEDACROSS
FROMO.S. CATHERINE,LOOKSLFG AT HER.
OTHER RESTAURANTPATRONSARE SEATED
AT TABLESIN BG.
CATHERINE
(off)
...splash.
MCCANN
Do you have any idea what kind of flesh-eating
lawyersthis...
498-10
SCENE74 - CS - CATHERINEMAKESA FACE
ANDGRINS WHILE LOOKINGRFGAT O.S.
MCCANN.
MCCANN
(off)
...guys gonna have? Hm?
CATHERINE
(overlapping)
(chuckles) Mm-hm.
CATHERINEPICKS UP A CUP OF COFFEE.
MCCANN
(off)
Notto menti-...
502-12
(3AB- 122)
"THE THOMASCROWN
AFFAIR"; " R/3AB P116
TITLE
NO.
MASTER
ENGLISHSUBTITL~SPOIrlNGLIST
SCENE78 - MCS- MCCANNLOOKSLFG AT

O.S. CATHERINE.
MCCANN
...-on political connections.
505-05
SCENE78 - CS - CATHERINE
SIPS HER
COFFEEVVHILE LOOKINGRFG AT O.S.
MCCANN,NODDINGAND GIGGLING WITH
EXCITEMENT.
CATHERINE
(slurpsdrinks)(giggles)
510-02
SCENE77 - INT. NATIONALARTSCLUBNIGHT- MCS- A PISSARRO
PAINTING OF A
COUNTRYHOMEGARDENIS DISPLAYED IN A
GILT FRAME.
LENOX
(off)
Mister ThomasCrownhas very generously
355
/510.4
515.12 5.8
356
516.4
520.8
4.4
LENOX TO GUESTS)
...a Pissarrountil our ownMonetis
restored.
(Pissarro : paintir~g by Camille
Pissarro, a FrenchImpressionist
painter, 1830-1903)
(restored : returned)
357
521.0
526.8/
5.8
LENOX TO GUESTS)
Plus, he personally apprehendedone of
the suspects.
(referring to howCrowntripped
Dimetri)
(Lenoxgestures for Crownto join him
Crownreacts modestly)
loanedus a Pissarro until our ownMonetis

restoredto us.
THE O.S. GUESTSAPPLAUDAS CAMERA
STARTSPULLING BACK FROMTHE PAINTING.
LENOXS HANDENTERSR, POINTING AT THE
PAINTING.
ARTSCLUBGUESTS
(off) (overlapping)
LENOX
Not to mention personally apprehendingone of
the suspects.
CAMERACONTINUESPULLING BACK TO
REVEALLENOXSTANDINGAT A PODIUMIN
FRONTOF THE PAINTING, RFG.
ARTSCLUBGUESTS(off)
(chuckle andchatter - continues underfollowing
sceneand dialogue)
LENOXTO GUESTS)
Mr. ThomasCrownhas very generously
loanedus...
(note that it is nowanotherday
formally dressedguests are attending
a cocktail party in the Impressionist
Gallery to celebratethe installation of a
newpainting in the spacewherethe
Monetwas taken - Lenox addresses
the group while Crownstands nearby Catherine is amongthe guests)
LENOXBECKONSL TO O.S. CROWN.

LENOX
Comeon.
526-13
(3AB- 123)
R/3ABPI~7
TITLE
NO.
MASTERENGLISHSUBTITLFJSPOTFING
LIST
SCENE78 - FS - LOOKINGOVERTHE LARGE

BLACK-TIE CROWD
TO LENOX AT THE FRONT
OF THE ROOMAS CROWNSTEPS UP ONTO
THE DAIS WITH HIM. THE GUESTSAPPLAUD
CROWN.
CROWN
rm afraid Jim embellisheshorrendously.I-I just
358
531.4
535.0
3.12
CROWNTO GUESTS)
Im afraid Jim embellisheshorrendously.
359
535.6
539.2
3.12
CROWNTO GUESTS)
I just did whatJim doesat fundraisers.
(fundraisers : social gatherings held
to raise moneyfor the museum)
360
539.8
545.0
5.8
(over scene end)
CROWN
TO GUESTS)(humorously)
I wavedmyarmsin the air and shrieked for
help.
(implying that this is whatCrowndid to
stop oneof the suspects,and that
Lenoxalso engagesin this behavior in
order to pressure people to donate
moneyto the museum)
(Crown turns and approachesa female
guest)
360/
546.10
550.10 4.0
CROWNTO GUEST#1)
Hello, Gloria. Lovely to see you.
361
551.4
555.14
GUEST#2 TO CROWN)
I knewhim, you know.His son, that is.
(him : Pissarros son)
did what Jim does at these fundraisers: I wavedmyarmsin the air and...
542-10
SCENE79 - MS - LOOKINGBETWEEN
SOME
GUESTSTO CROWN
UP ON THE DAIS.
LENOXIS STANDINGBESIDE THE PISSARRO
PAINTINGIN BG.
CROWN
...shrieked for help.
THE CROWDAPPLAUDS AS CROWNSTEPS
DOWNOFF THE STAGE TO GREET AN OLDER
WOMAN,ARTSCLUB GUEST#1, IN LFG.
CROWN
(contd)
(low) Im gonnasay hello to Gloria.
ARTSCLUBGUESTS
(overlapping)
(chuckle)
CROWN
(overlapping)
Hello, Gloria. Howare you? Lovely to seeyou.
ARTSCLUBGUEST#1 (overlapping)
Hello. Good. (kissing sound)
THE WOMANGIVES CROWNA PECK ON THE
CHEEKAS HE SHAKESHER HAND.
CROWN
Youlook well.
ANOTHEROLDER WOMAN(ARTS CLUB
GUEST#2) ENTERSRFG TO TALK WITH
CROWNAS THE REST OF THE GUESTSSTOP
APPLAUDINGAND MINGLE INBG, ONE OF
THE GUESTSTURNSAROUNDTO REVEAL IT
IS CATHERINE, ELEGANTLYDRESSED.SHE
LISTENS IN ON CROWNSCONVERSATION.
ARTSCLUBGUEST
#2 (oft)
I (on) knewhim, you know.
CROWN
Did you, madame?
4.10
(3AB- 124)
R/3AB PI18
COMBINED
TITLE
NO.
MASTER
ARTSCLUBGUESTS(overlapping)
(low andindistinct jovial chatter o continues
H-Hisson, that is.
CATHERINE
Mmm.
LucienPissarro, in the thirties in Paris.
362
556.6
560.10
4.4
GUEST#2 TO CROWN)
LucienPissarro, in the 30s in Paris.
(Lucien : the nameof Pissarros
eldest son)
(30s : 1930s)
(Catherineis looking at the painting)
363
561.2
563.10
2.8
CATHERINETO CROWN)
Its very impressive.
(It : ThePissarro painting)
364
564.12
568.4
3.8
CROWNTO CATHERINE)
It seemed
the right size for the space.
365
568.10
571.6/
2.12
CATHERINE TO CROWN)
Or maybeyou were bored with it.
(Crowngives Catherine a look)
CROWN
Really?.
CATHERINE
(overlapping)
Its very impressive.
CROWNTURNS TO CATHERINE, THEN THEY
BOTHGLANCEBACK AT THE PAINTING.
CROWN
Well, it seemed
the right size for the space.
ARTS CLUB GUEST#2
(chuckles) Haveyou met my-CATHERINE
(overlapping)
Or maybeyou were bored with it. (chuckles)~
571-07
SCENE80 - CS - PAST.CATHERINE,
RFG, TO
CROWNAS HE LOOKSAT HER CURIOUSLY.
CROWN
Do we knoweach other?
366 575.6
576.14/ 1.8
CROWNTO CATHERINE)
Do I knowyou?
367
582.2
CATHERINE TO CROWN)
Not yet. Im Catherine Banning.
576-15
SCENE81 - MCS- PAST CROWN,LFG, TO
CATHERINEAS SHE EXTENDSHER HAND TO
HIM. SEVERALPHOTOGRAPHERS
ARE IN BG,
TAKING PICTURES OF CROWN.
CATHERINE
Notyet. Im Catherine Banning.
578.10
3.8
584-00
(3AB- 125)
"THE THOMAS
CROWN
AFFAIR"
R/3AB PI19
COMBINED
TITLE
NO.
MASTER
LIST
SCENE82 - CS - PASTCATHERINE,RFG, TO
CROWN.
CROWN
Thomas Crown.
2.2
CROWNTO CATHERINE)
Thomas Crown.
(they proceedto the bar)
368
585.0
587.2
369
588.10
592.10/ 4.0
CATHERINETO BARTENDER)
Vodkarocks, twist and...
(Vodka rocks, twist : Vodkapoured
over ice andservedwith a twist of
lemon)
370
593.2
595.2
2.0
CATHERINETO BARTENDER)
...scotch, neat.
(scotch whiskeyservedstraight in
glass)
371
598.10
600.0/
1.6
CROWNTO CATHERINE)
Howdid you know?
(know: knowwhatkind of drink I like).
372
600.12
605.2
4.6"
CATHERINE TO CROWN,THEN
CROWNTO CATHERINE)
-Ive beenreading about you.
-Where?
373
605.8
607.0/
1.8
CATHERINE TO CROWN)
In a file.
(Crowneyes Catherine)
587-14
SCENE83 - EXT. NATIONALARTSCLUBMOMENTS
LATER - MCS- PAST CROWN,
RFG, TO CATHERINEAS THEY STAND ATTHE
O.S. BAR, ORDERINGDRINKS. GUESTSARE
MINGLINGIN BG.
CATHERINE
Vodkarocks,twist, and, u-...
ARTSCLUBBARTENDER
(overlapping)
Okay.
592-13
SCENE84 - MS - PAST CATHERINE,LFG, TO
CROWNSTANDING AT THE BAR. THE
BARTENDER
IS BEHINDTHE BAR IN LBG.
CATHERINE
...-m, scotchneat.
ARTS CLUB BARTENDER
Mm-hm.
THE BARTENDERSTARTS TO PREPARETHE.
DRINKS AS CROWNEYES CATHERINE
CURIOUSLY.
CROWN
How didyouknowthat?
600-00
SCENE 85-MCS-PAST CROWN, RFG, TO
CATHERINE.
CATHERINE
Ive beenreadingaboutyou.
CROWN
Oh? Where?
CATHERINE
In a file.
607-00
(3AB- 126)

TITLE
NO.
MASTER
SCENE88 - MS - PAST CATHERINE,LFG, TO

CROWNAS HE STARES AT HER
SUSPICIOUSLY. THE BARTENDERSERVES
THEIR DRINKS IN LBG. CAMERASLOWLY
DOLLIES IN ON CROWN.
CROWN
Whodo you work for?
CATHERINE
Im in the art world.
374
612.0
614.4
2.4
375
614.10
617.10 3.0
CATHERINE TO CROWN)
Im in the art world.
(i.e., 1 workin the field of art.)
376
619.6
621.2
CROWNTO CATHERINE)
Dealer?
(i.e., Are youa dealer?)
(Catherine shakesher head, no)
377
622.8
623.141 1.6
CROWNTO CATHERINE)
Gallery owner?
378
625.2
628.10
3.8
CATHERINE TO CROWN)
No. Its closer to insurance.
(It : The area of the art world in which
I work)
(Crowngives Catherine a look)
379
631.0
633.0
2.0
CROWNTO CATHERINE)
Im covered.
(i.e., Myart collection is already
insured.)
CATHERINEPICKS UP HER DRINK, THEN

CROWN
PICKS UP HIS AND CLINKS IT
AGAINST HERSAS CAMERAHOLDSIN MCS.
CROWN
Dealer?
1.12
CATHERINE
Mm-mm.
CROWNTO CATHERINE)
Whodo you work for?
THEYSIP THEIR DRINKS.

CATHERINE
(contd)
(drinks - continues underfollowing sceneand
dialogue)
CROWN
Gallery owner?
623-14
SCENE87 - MCS- PAST CROWN,RFG, TO
CATHERINEAS SHE SETS HER DRINK DOWN.
CATHERINE
No, itsclosertoinsurance.
629-00
SCENE88-MCS-PAST CATHERINE, LFG, TO
CROWN.
CROWN
Im covered.
634-01
(3AB- 127)

TITLE
NO.
LIST
SCENE89 - MCSo PAST CROWN,RFG, TO

CATHERINEAS SHE LEANS A LITTLE CLOSER
TO HIM, CAMERASLOWLYDOLLYINGIN ON
HER.
CATHERINE
Not for this. The painting? The Monet?You
380
636.6
638.14
2.8
dont think theyd simply cut a checkfor a
CATHERINE TO CROWN)
Notfor this.
(this : i.e., the painting Im here
about)
hundredmillion dolla-...
653-09
SCENE90 - CS o PAST CATHERINE,LFG, TO
CROWN,SMILING UNEASILY.
381 640.14
642.14
2.0
646.12 2.2
CATHERINE TO CROWN)
The painting?
382
644.10
383
649.10
655.6
(over scene end)
5.12
CATHERINE TO CROWN)
Youdont think theyd simply cut a check
for $100million.
(they : the insurers of.the Monet)
(cut issue)
384
657.8
1.8
CROWNTO CATHERINE)
So,you....
385
659.6
661.14
(over scene end)
2.8
CATHERINE TO CROWN)
Get themthings.
(i.e., Retrieve stolenart worksfor their
insurers.)
386
663.14 670.4
6.6
(over scene end)
CATHERINE~O CROWN)
Whenthis muchmoneyis involved, I get
them someoneshead.
(I get themsomeones
head: i.e., 1
also apprehend
the art thief so he will
receive punishmentfor his crime)
387
670.10 673.41
CROWNTO CATHERINE)
And whosehead are you after?
388
674.2
CATHERINE TO CROWN)
The Monet?
CATHERINE
...-rs, doyou?
CROWN
So,you....
CATHERINE
Getthemth-...
660-02
659.0
SCENE91 - CS - PAST CROWN,RFG, TO

CATHERINEAS SHE SMILES SLYLY.
CATHERINE
...-ings. When
theres this muchmoneyinvolved,.
it usually meansI get them-someones...
669-01
SCENE92 - CS - PAST CATHERINE,LFG, TO
CROWN:
CATHERINE
...head.
CROWN
And whosehead are you after?
2.10
673-06
SCENE 93-CS-PAST CROWN, RFG, TO
CATHERINE.
CATHERINE
Yours. Goodevening, MisterCrown.
CATHERINE STARTS WALKING PAST CROWN.
677-15
677.14/ 3.12
CATHERINE
TO CROWN)(sweetly)
Yours. Goodevening, Mr. Crown.
(Catherinewalks out of the reception
area and downa hall - Crownhurries
after her)
(3AB- 128)

COMBINED
TITLE
NO.
MASTER
SCENE94 o MCS- CROWN

STARESOFF
PENSIVELYAS CATHERINESTEPS PAST HIM,
EXITING RBG. THE BARTENDER
IS SERVING
OTHERGUESTSIN BG.
MALE ARTS CLUB GUEST
(low) Could I have a vodka?
ARTS CLUB BARTENDER
(low) Whatkind of vodka?
683-14
SCENE96 - INT. NATIONALARTSCLUB/
HALLWAY- NIGHT - MFS CATHERINEWALKS
FG DOWNTHE HALL, LEAVINGTHE O.S.
RECEPTION, AS CAMERADOLLIES BACK
WITH HER. CROWNEMERGESFROM THE
RECEPTIONIN BG AND HURRIESAFTER HER.
CROWN
Are you trying to, uh... (chuckles)
389
685.2
688.2
3.0
CROWNTO CATHERINE)
Areyoutrying to ....
390
689.6
694.10
5.4
CROWNTO CATHERINE)
Are you trying to imply I wasinvolved in
that robbery?
391
695.10
697.6
1.12
CATHERINE TO CROWN)
Trying?
(Crownhelps Catherine on with her
coat)
392
698.2
700.0
1.14
CATHERINE TO CROWN)
Thankyou.
393
700.14
704.6
3.8
CATHERINE TO CROWN)
No,I wouldntcall it an attempt.
(i.e., No, I wouldntcall myremarkan
attempt to accuseyou of being
involved. - dryly meaningthat she was
directly accusinghim of being involved)
CATHERINECROSSESRFG TO ONE SIDE OF

THE HALL, CAMERAPANNINGWITH HER, AS
CROWNCATCHESUP TO HER.
CROWN
(contd)
...are you trying to imply that I hadsomethingto
do with that painting?
CAMERAHOLDSIN MCSPAST CROWN,LEG,
TO CATHERINEAS SHE STARTS TO UNFOED
HER WRAP.
CATHERINE
Trying?
CROWNTAKES THE WRAPFROM CATHERINE
AND HOLDSIT OUT FOR HER.
CATHERINE
(contd)
Thankyou.
CATHERINE TURNSHER BACK TO CROWN,
AND HE PUTS THE WRAPAROUNDHER
SHOULDERS.
CATHERINE
(contd)
No,I wouldntcall it an attempt.
(3AB 129)

TITLE
NO.
MASTER
LIST
CROWNAND CATHERINE WALK RFG DOWN
THE HALL TOGETHER, CAMERAMOVING
BACK WITH THEM.
CROWN
Uh-huh.Whatsyour take for all this?
394
705.2
707.10
2.8
CROWNTO CATHERINE)
Whatsyour take in this?
(take : share- percentage)
(in this : i.e., for solvingthis crime)
395
708.0
711.6
3.6
CATHERINE TO CROWN)
Five percent of the value recovered.
396
712.2
715.2
3.0
CROWNTO CATHERINE, THEN

CATHERINE TO CROWN)
-A bounty hunter.
-If youlike.
(A : Youre a)
(bounty hunter : one who tracks down
and captures outlaws for whoma
rewardis offered)
(If you like : i.e., Youmaycall me
that if youlike)
397
715.8
718.0
2.8
CROWNTO CATHERINE)
You always get your man?
(i.e., You always apprehendthe
criminal you are pursuing?)
(Catherine. nods)
398
719.6
721.12
2.6
CROWNTO CATHERINE)
Think youll get ~e?
CATHERINE
Five percent of the value recovered.
CROWN
Oh, a bounty hunter.
CATHERINE
If youlike.
CAMERAMOVESAROUNDR IN FRONT OF
CROWNAND CATHERINE AS THEY WALK
LFG.
CROWN
Always get your man?
CATHERINE
Mm-hm.
CROWN
Think youll get me?
CROWNAND CATHERINE PAUSE AND TURN
TO EACH OTHERAS CAMERAHOLDS IN MCS
PAST CATHERINE, RFG, TO CROWN.
722-06
SCENE96 - CS - PAST CROWN,LFG, TO
CATHERINESTARINGAT HIM.
CATHERINE
Oh, I hopeso.
399 724.2
CATHERINETURNSAND EXITS R.
726.14
2.12
CATHERINE TO CROWN)
Oh, I hopeso.
(they exit the museum)
730-08
SCENE97 - MS - CAMERAPULLS BACK FROM
CROWNAS HE WATCHESO.S. CATHERINE
WALK AWAY.
733-02
(3AB- 130)
R/3ABPI24
TITLE
NO.
MASTER
SCENE98 - EXT. NATIONALARTSCLUBNIGHT- FS - LOOKINGOVERA LONGLINE OF

LIMOUSINES TO THE FRONTOF THE
BUILDING. CROWNIS FOLLOWING
CATHERINEOUT THE DOOR. A FEW OTHER
GUESTSARE ALSO LEAVING THE CLUB.
OTHER GUESTS
(very low andindistinct chatter - continuesunder
CROWN
Can I, uh, drop you somewhere?
400
/733.4
738.12 5.8

CATHERINE TO CROWN)
-Can I drop you somewhere?
-I havea car here.
(drop : see Title #290)
401
739.10
741.14/ 2.4
CROWNTO CATHERINE)
Then, tomorrow?
(tomorrow : can I see you tomorrow)
402
746.10
749.2
2.8
CROWNTO CATHERINE)
Us, dinner?
(i.e., Can wehavedinner together?)
403
754.6
756.6
2.0
CATHERINE TO CROWN)
Youre on.
(colloquial for, 1 acceptyouroffer.)
CATHERINE
I have a car here. Thanks.
CATHERINEAPPROACHES
HER LIMO, WHICH
IS RIGHT IN FRONTOF THE CLUB.
CROWN
Ah. Then, uh, tomorrow?
741-15
SCENE99 - MS - HIGH ANGLE- CROWN
OPENSTHE LIMO DOORFOR CATHERINEAS
CAMERA CRANES DOWNTOWARDTHEM.
SHE STARTS TO GET IN AS CAMERA
CIRCLESL BEHINDHER.
CROWN
(face off)
Us, dinner?
CATHERINEEXITS INTO THE LIMO, IGNORING
CROWN,AS CAMERACONTINUESPULLING
BACK INTO MS OF HIM LOOKINGOVERTHE
OPEN DOORAT HER.
752-04
SCENE100 - CS - CATHERINELOOKSRFG UP
AT O.S. CROWN,SMIRKING.
CATHERINE
Youre on.
756-14
(3AB- 131)
R/3ABPI25
TITLE
NO.
MASTER
SCENE10t - MS - LOOKINGOVERTHE LIMO

ROOF TO CROWNHOLDING THE DOOR
OPEN.
CROWN
Lets makeit e3rly. Wevegot a stop to make
404
/757.2
760.141 3.12
CROWNTO CATHERINE)
Early. Wehavea stop to makefirst.
(Early : Let us meetearly)
405
/770.4
772.6
2.2
Whats happened?
(note that it is the next day- Crownis
meetingwith his Psychiatrist)
406
772.14
774.6
1.8
Happened?
407
774.12
78114/
6.8
While youre tuning out whatI say, the
corners of your mouthturn up.
(tuning out :ignoring)
(while...say : note dry observation
that Crownpays absolutely no
attention to the advice she gives him)
408
/781.10 785.10/ 4.0
Youre enjoying something.Its not me..
(something : somethought)
first.
CROWNSTARTS TO SHUT THE DOOR.
760-16
SCENE102 - CS - THE DOORSHUTSON

CATHERINE, OBSCURINGHER.
762-09
SCENE103 - MS - LOOKINGOVERTHE LIMO
ROOFTO CROWN
AS HE TAPS IT. THE LIMO
THEN MOVESLBG OUT OF FRAME, AND
CAMERADOLLIES IN ON CROWNAS HE
LOOKS DOWNTHOUGHTFULLY.
770-01
OFFICEDAY - MS - CROWN
IS SEATEDIN A CHAIR,
STARINGOFF L.
PSYCHIATRIST
(off)
Whats happened?
CROWN
TURNSRFG TO THE O.S..
PSYCHIATRIST, CONFUSED.
CROWN
Happened?
PSYCHIATRIST
(off)
(smackslips) Whenever
I talk, while youre
tuning out what I say, the corners of your mouth
go up.
781-06
SCENE106 - MS - THE PSYCHIATRIST,

SEATEDBEHIND HER DESK, MAKESSOME
NOTESAS SHE GLANCESRFG AT O.S.
CROWN.
PSYCHIATRIST
Youre enjoying something. Its not me. Whatis
it?
785-11
(3AB- 132)

COMBINED
TITLE
NO.
MASTER

LOOKSLFG AT
THE O.S. PSYCHIATRISTANDSMILES.
CROWN
An entertainment.
PSYCHIATRIST
(off)
Verylittle entertainsyou, s-...
409
787.0
410
789.10 796.14
(over scene end)
411
799.0
412
809.0
792-00
789.4
2.4
An entertainment.
7.4
Verylittle entertainsyou, so I caneasily
guess.
SCENE107 - MCS- THE PSYCHIATRISTPUTS

DOWNHER PEN AND SMILES RFG AT O.S.
CROWN.
PSYCHIATRIST
...-o, I caneasily guess.
THE PSYCHIATRIST REMOVESHER GLASSES
AND STUDIESHIM.
PSYCHIATRIST
(contd)
A worthy adversary?
801.21 2.2
801-04
A worthy adversary?
(Crown nods)

LOOKSLFG AT
THE O.S. PSYCHIATRIST,GRINNINGAND
NODDING.
PSYCHIATRIST
(off)
Hmm?
805-08
SCENE109 - MCS- THE PSYCHIATRIST
STARESRFG AT O.S. CROWN,STUDYING
HIM. SHE SMILES KNOWINGLY.
PSYCHIATRIST
Did someoneswindle you?
812-13
812.8
3.8
Did someoneswindle you?
(Crownchuckles)
SMIRKS, SAYING
NOTHING.
CROWN
(chuckles)
816-07
(3AB- 133)

TITLE
NO.
MASTER
SCENE111 - INT. POLICESTATION/MCCANNS

OFFICE- DAY- MCS- PASTPARETTI, LFG,
TO MCCANNAS THEY BOTHGLARE LFG AT
O.S. CATHERINE.
MCCANN
Youwaltz in there without even a headsup,
413
820.6
824.2/
3.12
MCCANNTO CATHERINE)
Youwaltz in there without one wordto
me...
(waltz in : enter in a carefree, casual
manner)
(in there : into the museum)
(one word to me: i.e., giving any
notification to me)
(note that, at the police station,
McCannberatesCatherine when she
entershis office)
414
/824.8
829.6
4.14
MCCANNTO CATHERINE)
...or anyoneelse in the department,for that
matter.
(department : police department)
415
829.14
833.6
3.8
CATHERINETO MCCANN)
I hada little chatwith him.
(chat : informal talk)
(him : Crown)
416
833.14 837.6
(over sceneend)
3.8
MCCANNTO CATHERINE)
Chat? You told him he was a suspect.
417
837.12 840.12/
(over scene end)
3.0
I cut throughthe crap.
(slang for, 1 eliminatedthe
unnecessarynonsenseand confronted
the matterdirectly.)
withouto-...
824-04
SCENE112 - MCS- CATHERINEIS STANDING
IN THE DOORWAY,WEARINGDARK GLASSES
AND HOLDING HER JACKET OVER HER
SHOULDER,LOOKINGWEARILYRFG AT O.S.
MCCANN.POLICE PERSONNELCAN BE SEEN
WORKINGIN THE SQUADROOMIN BG.
MCCANN
(off)
...-ne wordto me, or anyoneelse in the
departmentfor that matter.
CATHERINEREMOVESHER DARK GLASSES.
CATHERINE
I, uh, hada little chat with him, yes.
MCCANN
(off)
Youhada little...
834-03
SCENE113 - MCS- PAST PARETTI, LFG, TO
MCCANN,LOOKINGLFG AT O.S. CATHERINE.
MCCANN
(chuckling)...chat? Youtoldhim, balls-out,
was a suspect.
CATHERINE(off)
Icut...
838-02
SCENE114 - MCS- CATHERINEGLARESRFG
AT O.S. MCCANN.
CATHERINE
...through the crap, all right?
840-13
(3AB- 134)

TITLE
NO.
MASTER

MCCANNAS HE SHAKESHIS HEAD AND
TURNSTO EXIT RBG.
843-i0
SCENE116 - MCS- CATHERINEREACTSAND
STEPS IN FROMTHE DOORWAY,
STARTINGTO EXIT RFG.
846-09
SCENE117 - MCS- PARETTI STARESAT
CATHERINEAS SHE WALKSPAST HIM. HE
SMILES AND SHAKESHIS HEAD.
PARETTI
Hm.
850-09
SCENE110 - MFS - PAST MCCANN,NOW
STANDINGRFG BEHIND HIS DESK, TO
CATHERINEAS SHE STOPS ON THE FAR
SIDE OF THE OFFICE NEARTHE DOOR,
PARETTI STANDING BEHIND HER. MCCANN
PRETENDSTO BUSY HIMSELF WITH WORK
ON HIS DESK AS CATHERINESLINGS HER
JACKET OVER HER ARM.
CATHERINE
Howlong wasitgonnatakeyou,
Mike?
418
858.14
419
862.10 866.6
3.12
(over sceneend)
CATHERINETO MCCANN)
Weeks
of wiretaps, if you could get them.
(wiretap : act of makingan electrical
connectionto a telephoneline in order
to eavesdropon and record
conversations)
(get them: i.e., obtain legal
permissionto use them)
420
866.14
CATHERINETO MCCANN)
Guystailing him to the bathroom.I found
out in ten minutes.
(tailing : slangfor, following)
861.0/
2.2
861-01
CATHERINETO MCCANN)
Howlong would it take you?
(it : confronting Crownabout his
involvementin the robbery)
SCENE119-MCS-MCCANN GLANCES UP L
AT O.S. CATHERINE,SAYINGNOTHING.
CATHERINE(on
Weeksofwiretap-...
864-05
SCENE120 - MFS- PAST MCCANN,RFG, TO
CATHERINEON THE FAR SIDE OF THE
OFFICE, PARETTI STANDINGBEHINDHER.
CATHERINE
...-s, if you could get them.Guystailing him to
the bathroom.
873.14
7.0
(3AB- 135)

TITLE
NO.
MASTER
CATHERINE STARTS WALKING TOWARD
MCCANN.
CATHERINE
(contd)
I found out in ten minutes. He did it. The smug
421
874.4 879.10
(over sceneend)
422
880.0
423
884.6
424
891.4
895.8
(over sceneend)
5.6
CATHERINETO MCCANN)
Hedid it. Thesmugson of a bitch did it.
(did it : stole the Monet)
4.0
MCCANNTO CATHERINE, THEN

CATHERINETO MCCANN)
-You compromised
the investigation.
-I jump-started
it.
(compromised: put in jeopardy)
(jump-started: normally, this refers to
having started an engine by makinga
temporaryconnection to an external
powersource[as another vehicles
battery] - here, Catherineis using it
colloquially to meanimparted fresh or
renewedenergy to)
889.4/ 4.14
MCCANNTO CATHERINE)
Andwhat do you have to showfor it,
besides a date?
(it : your jump-starting the
investigation)
(date : social appointment- i.e., date
for dinner with Crown)
sonof a bit-...
878-10
SCENE121 - MS - PASTCATHERINE,LFG, TO
MCCANNAS CATHERINESTOPS BESIDE THE
DESK AND LEANS ON IT. MCCANN
CONTINUESBUSYING HIMSELF WITH HIS
PAPERWORK.
CATHERINE
...-ch didit.
MCCANN
Youcompromised
the investigation.
884.0
CATHERINE
No, I jump-startedit.
MCCANN
(overlapping)
Oh, really? Andwhat do you have to showfor it?
Besides a date?
889-06
SCENE122 - MS - PAST MCCANNSTORSO,
RFG, TO CATHERINELEANING AGAINSTHIS
DESK AS .CAMERASLOWLYDOLLIES IN ON
HER. PARETTI STANDS WATCHINGFROM
BESIDE THE DOORIN LBG.
CATHERINE
Themanlikes the. high wire. Im gonnaplay with
894-01
SCENE123 - MS - PASTCATHERINE,LFG, TO
MCCANNAS HE PICKS UP SOMETHINGS
FROMHIS DESK AND STARTS TO WALK PAST
HER.
4.4
CATHERINETO MCCANN)
Im goingto play with himfor a while..
(play with him: i.e., toy with him or
manipulatehis behavior)
CATHERINE
...~ra while.
(3AB- 136)
"THE THOMASCROWN
AFFAIR"
R/3AB PI30
COMBINED
TITLE
NO.
MASTER
LIST
MCCANN
Well, I could comeup with somequestions to
425
895.14
899.10 3.12
MCCANNTO CATHERINE)
I could ask whos playing whom.
(implying that McCann
thinks that
Crownis morelikely manipulating
Catherine, rather than vice versa)
426
900.14
903.10
2.12
CATHERINETO MCCANN)
Yousaying I shouldnt go?
(go : go on the date with Crown)
427
904.0
908.8
4.8
MCCANNTO CATHERINE)
Dont piss on the department, okay?Were
onthis.
(piss : slang for, urinate)
(Dont piss on : slang for, Dont show
contemptfor - Dont mistreat)
(department : police department)
(on this : handlingthis investigation)
whos playing whom.

MCCANNCROSSESL PAST CATHERINE,
EXITING FRAME, THEN CAMERAMOVESIN
ON CATHERINEAND CIRCLES R AROUND
HER TO REVEAL MCCANNAPPROACHING
THE DOORIN LBG, WHEREPARETTI IS
WAITING. CATHERINEPOPSA NUT IN HER
MOUTH.
CATHERINE
(chewing) Yousaying I shouldnt go?
CAMERAHOLDS AND RACKS FOCUS FROM
CATHERINE, IN RFG, TO MCCANNAND
PARETTI AT THE DOORIN LBG, AS MCCANN
STOPS AND TURNSBACK TO HER.
MCCANN
Dont piss on the department,Catherine, okay?
Wereon this.
CATHERINE
(chews)
CAMERARACKS FOCUS TO CATHERINE
AGAIN AS MCCANNLEAVESTHE OFFICE,
EXITING L. SHE CHEWSTHE NUT AND
GRIMACES.
912-13
DAY- FS - HIGH ANGLE- CAMERA
TILTS
DOWNFROM THE FRONT OF THE
TOWNHOUSETO AN OVERHEADANGLE OF
THE STREET BELOWAS THREE POLICE
CARS (ONE MARKEDAND TWOUNMARKED)
COMETO A STOP. UNIFORMCOPS AND
DETECTIVES, INCLUDING MCCANNAND
PARETTI, GET OUTOF THE CARS.
928-06
STREET TO THE TOWNHOUSE
AS MCCANN
LEADS THE OTHERCOPS AND DETECTIVES
TOWARD
IT.
933-09
(3AB- 137)

TITLE
NO.
MASTER
LIST

FOYER- DAY - MCS- PAUL, RFG, OPENSTHE
FRONT DOORTO REVEAL MCCANNAND THE
OTHER DETECTIVES OUT ON THE FRONT
STOOP. MCCANNHOLDS UP A SEARCH
WARRANTAND HIS BADGE. CAMERA
CRANESDOWNSLIGHTLY.
MCCANN
Howdo you do? This is a warrant. Were here
428
/933.12 937.0
SCENE127 - FS - HIGH ANGLE- CAMERA

CRANESDOWN,OVER THE STAIRCASE
TOWARDMCCANN, PARETTI AND THE OTHER
DETECTIVESAS THEYFILE IN THROUGH
THE
FRONT DOORAND SPREAD OUT ACROSS
THE FOYER. PAUL WALKS AWAY FROM
THEM, EXITING RFG, AS MCCANNDIRECTS
THE DETECTIVES.
429
937.6
942.121 5.6
MCCANNTO PAUL)
Were here to search these premises. Id
let. us.
(McCann
andthe officers enter the
house)
MCCANN
Jack, gimmetwo menup here. I want two more
430
943.2
950.10
7.8
MCCANNTO COPS)
Jack, give me two menup here and two
more menin this room. Move.
(give metwo menup here : i.e., send
two officers upstairs)
431
954.14
957.14
3.0
PARETTI TO COP)
John, take the back room.
(take : search)
(Crown, wearing an apron, comesout
of the kitchen)
3.4
to conducta legal search of these premises.Id

let us.
MCCANNSTEPS INTO THE HOUSE, SLAPPING
THE WARRANT
INTO PAULS HAND.
942-13
menin this roomright here. Lets go. Move.

Move, move.
POLICE(overlapping)
PARETTI USHERSTWOOTHERDETECTIVES
R TO THE LIVING ROOM, CAMERAPANNING
WITH THEM, OFF THE OTHERS.
MCCANNTO PAUL)
Hello. This is a warrant.
(This : The document McCannholds
up to Paul)
(warrant : search warrant - writ issued
by a competentmagistrate authorizing
an officer to makea search)
(later that day, McCann
and a group of
officers arrive at Crownstownhouse
Paul answersthe door)
Comeon. Lets go, man.
PARETTI PAUSESIN THE DOORWAY
AS THE
TWODETECTIVESEXIT INTO THE LIVING
ROOMIN BG. CAMERACONTINUESCRANING
DOWNAND PANNINGR PAST PARETTI AS A
THIRD DETECTIVE(JOHN) CROSSESR PAST
HIM IN FG.
PARETTI
(contd)
John, take the back room.
(3AB- 138)

COMBINED
TITLE
NO.
MASTER
CAMERAPANS WITH THE DETECTIVE, OFF
PARETTI, TO REVEALTHE BACK OF THE
FOYER, WHEREPAUL IS EXITING INTO THE
KITCHEN. THE DETECTIVEEXITS L INTO A
BACK ROOMAS CAMERACONTINUES
PANNINGR TO REVEAL A LARGE MARBLE
STATUE OF A NUDE WOMANBESIDE THE
STAIRS.
COP#1 AT CROWNS
(oft~
Youwant help in here?
MCCANNENTERS RFG AS HE PAUSES TO
LOOKAT THE STATUE.
967-00
SCENE128 - MCS- PAST THE STATUE,
TIPPED IN L, TO MCCANNREGARDING
IT
WITH DISBELIEF. A UNIFORMCOP WALKS
UP BEHI.NDHIM.
PAUL(off)
Mister Crown,
CROWN
(off)
Tha-...
972-06
SCENE129 - FS - LOOKINGACROSSTHE.
FOYER TO THE KITCHEN DOORWAY,WHERE
PAUL CAN BE SEEN TALKING WITH CROWN.
CROWN,IN AN APRON, ENTERSTHE FOYER
AS PAUL STEPSASIDE.
CROWN
...-nk you. (to McCann)Uh, excuse me?
432
974.6
978.14
(over scene end)
4.8
CROWNTO MCCANN)
Excuse me. Whyare you in my house?
433
979.4
4.6
MCCANNTO CROWN)
Im sure youre mystified--your lawyerwill
explain.
(McCannhands Crownthe warrant)
975-11
SCENE130 - MCS- PAST THE STATUE,
TIPPED IN L, TO MCCANNAND THE UNIFORM
COP STARINGLFG AT O.S. CROWN.
CROWN
(off)
Uh, what, why are you in my house?
MCCANN
Im sure its a mysteryto you, but your lawyerll
be able to explain.
983.10/
983-11
(3AB- 139)
~IHE
THOMASCROWN
AFFAIR" R/3AB PI33
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI-IINGLIST
SCENE131 - MS - CROWN,STANDINGIN
FRONTOF THE KITCHEN DOORWAY,STARES
RFG AT O.S. MCCANN
CROWN
(calling out) Wallace?
434
984.10
986.10
2.0
435
996.2
1000.10 4.8
436
/1024.14 1030.0
WALLACE, ALSO WEARINGAN APRON,

EMERGESFROMTHE KITCHEN IN BG. PAUL
HANDSHIM THE SEARCHWARRANTAS HE
PASSES, ANDHE STARTSTO READIT.
CROWN
(contd)
(to McCann)This gentlemanhappensto be
attorney.
1001-01
CROWN)
(calling)
Wallace?
(Wallace, also wearingan apron, joins
Crowno Crownhands him the warrant)
CROWNTO MCCANN)
This gentlemanhappensto be my attorney.
(a short while later, an angry McCann
exits the townhouse
andgets in his car
- Catherineis sitting in the passenger
seat - she looks amused)

DAY - MFS- PAST MCCANNSCAR, LFG, TO
MCCANNAS HE STRIDES ANGRILY FROM
THE FRONT OF THE.TOWNHOUSE
TO HIS
CAR. PARETTI AND THE OTHERCOPS AND
DETECTIVESARE ALL WALKINGTO THEIR
CARSIN BG.
POLICE OUTSIDE HOUSE
CAMERACRANESDOWNAND PANS L, OFF
THE COPSAND DETECTIVES, TO REVEAL
CATHERINEIN THE PASSENGER
SEAT OF
MCCANNSCAR, SMIRKING KNOWINGLY.
CAMERAHOLDS ON HER IN MCS AS MCCANN
GETSIN THE DRIVERS SEAT IN BG. HE
STARTSTHE CAR AND DRIVES IT AWAYAT
HIGH SPEED, CAMERAPANNINGWITH IT
INTO FS.
CATHERINE
(voice over)
Oh...
1024-10
SCENE133 - INTo MCCANNSCAR- DAY - MCS
- CATHERINE,FACINGL, SMIRKSAS THE CAR
MOVESDOWNTHE STREET.
CATHERINE
...keep your knickerson. Ill
get into his house.

1031-11
5.2
Keepyour knickerson. Ill get into his
house.
(knickers : loose-fitting short pants
gatheredat the knee, worn in the 19th
century)
(Keepyour knickers on : colloquial
for, Dont get upset)
(3AB- 140)
R/3AB PI34
TITLE
NO.
MASTER
SCENE134 - INT. POLICESTATION- EVENING

- FS - MCCANNSPOV o CAMERA
RACKS
FOCUSFROMVENETIAN BLINDS TO A VIEW
OUT THE WINDOWOF CATHERINEWALKING
PAST PARKEDPOLICE CARS AWAY FROM
THE STATION. SHE IS DRESSEDFOR A
DATE.
1041-10
SCENE135 - MS o MCCANN
STEPS UP TO THE
O.S. WINDOW,STARINGOUTAT O.S.
CATHERINE,AS CAMERA
TILTS UP WITH HIM
INTO MCS. HE PAUSESTO SIP SOME
COFFEE.
1047-12
SCENE136 - FS - MCCANNSPOV- LOOKING
OUT THE WINDOWTO CATHERINEAS SHE
WALKSACROSSTHE STREET TO CROWNS
PARKEDLIMOUSINE.
1054-04
SCENE137 - MCS- MCCANNTURNSAWAY
FROMTHE O.S. WINDOW
IN DISGUST.
1058-09
SCENE138 - EXT. POLICESTATIONEVENING- MCS- LOOKINGTHROUGH
A
WINDOWOF THE LIMO TO CATHERINEAS
SHE GETS IN THE BACK SEAT. CAMERA
PANS SLIGHTLY R WITH HER TO REVEAL
CROWNSEATEDIN RFG. SHE TURNSTO HIM
ANDSMILES.
CROWN
Youlook wonderful.
437
1061.6
1063.10 2.4
CROWNTO CATHERINE)
Youlook wonderful.
(it is afternoon - Crownhas cometo
collect Catherinefrom the police
station - McCann
watchesher get into
the limousine from his office window)
438
1064.6
1067.6/ 3.0
CATHERINETO CROWN,THEN
CROWNTO CATHERINE)
-How are you?
-Popular.
(Popular: wryly referring to the fact
that he knowsthe police are now
investigating him)
(the limousinedrives off - Paretti
follows in his car - he soonreports to
McCann)
CATHERINE
Thankyou.
CROWN
Mmm.
CATHERINE
(overlapping)
Howare you?
CROWN
Popular.
THE LIMO MOVESL OUT OF FRAMEAS
CROWNGLANCESOUT HIS WINDOWAT THE
O.S. POLICESTATION.
1067-08
(3AB- 141)
R/3AB PI35
TITLE
NO,
MASTER
LIST
SCENE139 - FS - CROWNS
LIMO MOVESR
PAST SEVERALPARKEDPOLICE CARS,
CAMERADOLLYINGWITH IT.
1075-01
SCENE140 - INT. POLICE GARAGE
- EVENING
- MFS- MCCANN
WALKSL TO HIS CAR,
CAMERADOLLYING WITH HIM. HE PASSES
OTHERCOPS AND DETECTIVES.
PARETTI
(over walkie-talkie)
Mikey, man,youre not gonnabelieve thi-...
1081-06
439
ITAL
1077.14 1081.4/ 3.6
PARETTI TO MCCANN)
(over
walkie-talkie
)
Mikey, you wont believe this. "
(Mikey : see Title #163)
(this : whatIm goingto tell you)
440
1083.0 1085.6 2.6

(over scene end)
PARETTITO MCCANN)
Knowwhere hes taking her?
441
1087.0
PARETTtTO MCCANN)
To the museum.
442
1092.141095.6
443
1095.12 1101.4/ 5.8

(over sceneend)
SCENE141 - EXT. STREETACROSSFROM

MUSEUM
- EVENING- MS - PARETTIIS
SEATEDIN HIS UNMARKED
CAR, WATCHING
O.S. CROWN.
PARETTI
...-s. Youknowwherehes taking her?
1084-08
SCENE142 - FS - PARETTrSPOV- LOOKING
ACROSSTHE STREET TO THE FRONTOF
THE MUSEUM,WHERECROWNSLIMOUSINE
IS STOPPED. CROWNAND CATHERINEARE
GETTINGOUT.
PARETTI
(off) (into walkie-talkie)
To the museum.(chuckles)
1089.12/ 2.12
1089-14
SCENEt43 - INT. POLICEGARAGE
- EVENING
- MS - MCCANNOPENSTHE DOOROF HIS
CARAND PAUSESIN DISBELIEF.
MCCANN
Hes taking her to the fuckin museum?
PARETTI
Its kind of sweet...
1097-02
SCENE144 - EXT. STREETACROSSFROM
MUSEUM
- EVENING- MCS- LOOKING
THROUGH
THE WINDSHIELDTO PARETTI IN
HIS CAR.
PARETTI
...you know,for a, first date, huh?(chuckles)
1101-07
2.8
MCCANN
TO PARETTI)(into walkie-talkie)
Hes taking her to the museum?
PARETTITO MCCANN)
Its kind of sweet,you know--fora first
date.
(It : Thegesture)
(said sardonically)
(Crownand Catherine enter the
museumand proceed toward the
Impressionist Gallery - Catherinestops
tolook at the Magritte painting "The
Sonof Man", a manin a bowler hat
with an applein front of his face)
(3AB- 142)

TITLE
NO.
MASTER
LIST

EVENING- MCS- CAMERAPULLS BACK
FROMA MAGRITTEPAINTING OF A BOWLERHATTEDBUSINESSMANWITH A GREEN
APPLEOBSCURING
HIS FACE. (IT IS
IDENTICAL TO THE MAGRITTEPAINTING IN
CROWNSSTUDY.)
CATHERINE
(off)
Hey, I didnt knowyour portrait washere.
444
1101.14 1105.10 3.12
CATHERINETO CROWN)(humorously)
I didnt knowyour portrait washere.
(note that Catherineis pretendingthe
painting is of Crown)
445
1106.6
1113.61 7.0
The faceless businessman
in a bowler hat.
Everythingbut the briefcase.
(bowler hat : mansstiff felt hat with a
dome-shapedcrown and narrow brim)
446
1114.0
1116.8/ 2.8
Did you sit long for the artist?
(sit long : posefor a long time)
447
1118.14 1124.6
448
1127.2
449
/1129.10 1132.10 3.0
CATHERINE TO CROWN)
Whereare you taking me?
450
1133.0
CROWNTO CATHERINE)
Come, come, come.
(theypassProctor#7, a woman)
CAMERAPANS R TO REVEAL CROWN

APPROACHING
THE PAINTING FROMBG, AND
CATHERINESTANDINGIN RFG, STUDYINGIT.
CATHERINE
(off) (contd)
The faceless businessman
(on) in a bowler hat.
Everythingbut the briefcase.
1113-07
SCENE146 - MCS- CATHERINEGLANCESL
AT O.S. CROWN.
CATHERINE
Didyouhavetositlongfortheartist?
1116-08
SCENE147 - MS - PASTCATHERINE,RFG, TO
CROWNAS HE STOPS BESIDE THE
MAGRITTE
PAINTING, L, ANDSTUDIESIT.
CROWN
Uh, well, actually, um,I do owna copyof that.
5.8
CROWNTO CATHERINE)
Actually, I do owna copyof that.
(that : that painting)
CROWNTURNS AND WANDERSBG AWAY

FROMTHE PAINTING. CATHERINE FOLLOWS
HM.
CATHERINE
(laughs) Oh, of course you do.
1129.4/ 2.2
1129-06
CATHERINE TO CROWN)
Of course you do.
(Catherine follows Crownthrough the
museum)
LEADS CATHERINE
LBG THROUGHANOTHERGALLERY AS
CAMERAFOLLOWSTHEM. A MANIS TAKING
A GROUPOF CHILDRENON A TOUR, R.
CATHERINE
And where might you be taking me?
CROVVN
Come. Come,come, come, come, come, come.
CATHERINE
(overlapping)
Mm-hm.
1136.0
3.0
(3AB- 143)
"THETHOMAS CROWNAFFAIR" R/3AB PI37

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOnINGLIST
CROWNLEADS CATHERINE THROUGHA
DOORWAY
INTO THE IMPRESSIONIST
GALLERY AS CAMERACONTINUESTO
FOLLOWTHEM. THEY PASS A FEMALE
PROCTOR
(#7).
PROCTOR#7
Goodevening, sir. The museum
is closing in
451
1136.14 1142.14 6.0
PROCTOR#7 TO CROWN)
Goodevening, sir. The museum
is closing
in 15 minutes.
(they enter the ImpressionistGallery
Catherineseesthe Pissarro painting)
452
1144.10 1147.6
2.12
CATHERINE TO CROWN)
Yourloaner.
(loaner : item which has beenloaned)
453
1147.14 1150.10/ 2.12
CROWNTO CATHERINE)
Theleast I could do.
(The : Loaning the museum
a painting
to replace the stolen one wasthe)
(Catherineshivers)
454
1153.6
1155.12/ 2.6
CATHERINE TO CROWN)
I seethe airs backon.
(air : see Title #188)
455
1158.2
1161.2
CATHERINE TO CROWN)
I shouldnt have checkedmycoat.
(checkedmycoat : i.e., deposited my
coat in the coat room)
(Crowntakes off his jacket andputs it
aroundCatherines shoulders)
fifteen minutes.
CROVVN
Thankyou.
THE PROCTOREXITS RFG AS CROWNLEADS
CATHERINETO THE MIDDLE OF THE
GALLERY,POINTINGR AT AN O.S. PAINTING.
CATHERINE
Ah, your loaner.
CROWN
Uh-huh,thats the least I could do.
CAMERAPANS SLIGHTLY R TO REVEAL
CROWNSPISSARROPAINTING NOWIN THE
SPACE WHERETHE MONETONCE HUNG.
CATHERINE
Mm-hm.
1150-14
DOLLIESIN ON
THE PISSARROPAINTING.
CATHERINE
(off)
(inhales) Oh, I see that they got the air backon.
1155-13
AND CATHERINE
WANDERR TOWARDTHE PAINTING AS
CAMERASLOWLYMOVESL AROUNDTHEM.
CATHERINECLUTCHESHER BARE ARMS.
CATHERINE
I shouldntve checkedmycoat.
3.0
(3AB- 144)
"THE THOMASCROWN
AFFAIR"
R/3AB PI38
TITLE
NO.
MASTER
LIST
CROWNREMOVESHIS JACKET AND OFFERS
IT TO CATHERINEAS CAMERACONTINUES
MOVINGL.
CATHERINE
(contd)
Oh, thank you.
456
1165.6
1167.2
1.12
457
1167.14 1171.14 4.0

(over sceneend)
CATHERINETO CROWN)
Youknow,if I hadmypick in this room...
(had mypick : i.e., could chooseany
painting)
458
1173.6 1176.6
CATHERINE TO CROWN)
..ol wouldnt havetakenthe Monet.
459
1180.14 1183.6 2.8
CROWNTO CATHERINE)
Whatwould youtake?
460
1184.8
CATHERINE TO CROWN)
For mypersonal choice?
(Catherinepoints to another painting in
the room)
CATHERINE TO CROWN)
Thankyou.
CROVVN
Mmohm.
CROWNPUTS HIS JACKET OVER
CATHERINES SHOULDERS.
CATHERINE
Youknow,if I hadmypick i-...
t169-15
SCENE151 - MS - CATHERINELOOKSRFG AT
THE O.S. PISSARROAS CROWN
FINISHES
PUTTING HIS JACKET OVERHER
SHOULDERSAND STEPS BACK. CAMERA
SLOWLYCIRCLES L AROUNDTHEM.
CATHERINE
o..-n this room,I wouldntve taken the Monet."
3.0
CROWN
No?
CATHERINE
No.
CROWN
Whatwould you take?
CATHERINE
For mypersonal choice?
CROWN
Mm-hm.
1187.14/ 3.6
CATHERINE LOOKS AROUNDTHE ROOM.

1188-02
SCENE152 - CS - CATHERINESHAND
DISCREETLY REACHESBACK TO THE
POCKETOF CROWNSJACKET AND
CLUTCHES
IT TIGHTLY. THE CLINKING OF
KEYSIS HEARDINSIDE THE POCKET.
CATHERINE
(face off)
Mmm...
(3AB- 145)

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"IING LIST
CATHERINETAKES A STEP R AS CAMERA
TILTS UP OFF HER HANDAND RACKSFOCUS
TO A PAINTINGIN LBG.
461
1196.6
462
1204.10 1206.6 1.12
CROWNTO CATHERINE)
You?
(i.e., Thats the painting you would
want?)
463
1208.14 1211.6 2.8
CROWNTO CATHERINE)
Youdlike to havethat?
464
1213.2
1217.14 4.12
CATHERINE TO CROWN)
Why?Will you get it for me?
(get : implying, steal)
CROWNTURNS AND EXITS L THROUGHA

DOORWAY.CATHERINE PAUSES A MOMENT,
THEN FOLLOWSO.S. CROWNAS CAMERA
FOLLOWSHER.
465
1219.2
1222.2 3.0
CROWNTO CATHERINE)
Anythings obtainable.
CATHERINE
(chuck!es)Okay,Ill
466
1232.6
1237.12 5.6
CATHERINE TO CROWN)
Okay,Ill bite. Whatwouldyou do to get
it?
(bite : colloquial for, respondso as to
be caught[by a trick or joke])
CATHERINE
(face off) (contd)
...that one.
1198.6 2.0
CATHERINE TO CROWN)
That one.
1198-14
SCENE153 - MCS- CAMERAMOVESIN ON
THE PAINTING -- EDOUARD
MANETS
"REGATTA" (WHICH SHOWSA WOMANAND
CHILD LOOKINGOUT AT SOMEBOATS ON
THE WATER)-- THENPANS R, OFF THE
PAINTING, TO REVEALCROWNLEANING
AGAINSTTHE WALLBESIDE IT.
CROWN
You?
CATHERINEENTERSR AND STOPS BESIDE
CROWNAS CAMERAHOLDS ON THEM. THEY
BOTHSTAREL AT THE O.S. PAINTING.
CATHERINE(o~
Mm-hm.
CROWN
Youdlike to havethat?
CATHERINE
Why?Will you get it for me?
CROWN
Anythings obtainable.
bite.

REVEAL CROWNIN THE NEXT GALLERY.
CATHERINE
(contd)
What(off) wouldyou do to get it?
(3AB- 146)

TITLE
NO.
MASTER
LIST
CROWNSTOPS AND TURNSBACK TO O.S.
CATHERINEAS CAMERAHOLDSON HIM IN
MCS.
CROWN
Id buya print.
467
1239.10 1241.14 2.4
CROWNTO CATHERINE)
Id buya print.
(print : i.e., printed copyof the
painting)
(Catherine looks amused- as they
walk into the next room,Catherine
slips Crownskeys out of the jacket
pocket and leaves themon the base of
a statue - a manpasses by and picks
them up)
468
1266.0 1269.4/ 3.4

(over sceneend)
PARETTITOMCCANN)
Theyregoinginto Cipriani.
(They : Crownand Catherine)
(Cipriani : one of three extremely
expensiveItalian restaurantsin
Manhattan
- this could be either Harry
Cipriani [on Fifth Avenue],Downtown
Cipriani [on WestBroadway]or
Cipriani Wall Street [located on Wall
Street])
(note that Paretti has followed Crown
and Catherineto a restaurant and he
watchesthem enter)
CROWN
TURNSAND STARTSTO EXIT L.
CATHERINE
(off)
1243-05
SCENE154 - MCS- CATHERINEFOLLOWS
O.S. CROWNAND LAUGHS, CAMERAMOVING
BACK WITH HER. CAMERATILTS DOWNTO
REVEALHER HANDPULLING A SET OF KEYS
OUT OF CROVVNSJACKET POCKETAND
SURREPTITIOUSLYSETTING THEM DOWNON
THE BASE OF AN O.S. STATUEJUST BEFORE
SHEEXITS R. CAMERAHOLDS ON THE KEYS
IN CS.
1251-05
SCENE155 - MS - CAMERAFOLLOWS
CATHERINEAS SHE WALKS THROUGHA
DOORWAY
INTO ANOTHERGALLERY AFTER
CROWN.A MAN POSING AS A MALE
TOURIST WALKSPAST HER, EXITING RFG.
1255-10
-SCENE 156 - MCS- CAMERAFOLLOWSTHE
TOURISTS TORSOAS HE WALKSPAST THE
BASE OF THE STATUEAND DISCREETLY
GRABSTHE KEYS.
1260-00
SCENE
157 - EXT. CIPRIANI- NIGHT- FS PARETTIS POV - LOOKINGACROSSTHE
STREETTO THE FRONTOF CIPRIANI, AN
EXPENSIVE RESTAURANT.
PARETTI
It Ioo-...
1266-09
(3AB- 147)

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOnINGLIST
SCENEt58 - MCS- LOOKINGTHROUGH

THE
WINDSHIELDOF PARETTIS PARKEDCAR TO
PARETTI WATCHINGTHE O.S. RESTAURANT.
PARETTI
...-ks like theyre goinginto Cipriani.
1269-07
SCENE159 - EXT. MCCANNSAPARTMENT
IN
QUEENS- NIGHT - MS - MCCANN
WALKSR
UP STEPS ONTOTHE PORCH, CAMERA
PANNINGWITH HIM. HE IS TALKING ON A
WALKIE-TALKIE.
MCCANN
Wait a minute, I thought they were supposedto
469
/1269.10 1272.6
2.12
MCCANN
TOPARETTI)(into walkie-talkie)
Theywere going to Le Cirque.
(Le Cirque : extremely expensive and
popular restaurant located on East
65th Street in Manhattan)
470
ITAL
1272.14 1276.6/
3.8
PARETTI TO MCCANN)
Im watchingthemwalk into Cipriani.
471
1277.0 1280.4
472
/1281.2 1288.10 7.8
goto Le Cirque.
MCCANNSTOPS ON THE PORCH.
PARETTI
Im watchin em walk into Cipriani.
1276-07
SCENE
180 - EXT. CIPRIANI- NIGHT- CS LOOKINGTHROUGHPARETTIS WINDSHIELD
TO PARETTI.
PARETTI
Andwith no reservation.
3.4
1280-14
SCENE161 - INT. CIPRIANI - NIGHT- MCSHIGH ANGLE - CAMERACRANESDOWN
FROMA CROWDOF PEOPLE TALKING AT
THE SIDE OF THE ROOMTO REVEAL
CATHERINESEATEDAT A TABLE IN FG,
LOOKINGAT A MENU.
PARETTITO MCCANN)
Andwith no reservation.
(note that one would have to be
extremely wealthy and powerful in
order to go into sucha trendy and
expensiverestaurant without a
reservation andobtain a table for
dinner)
PEOPLEIN CIPRIANI
CROWN
(off)
Scotch neat for me, and I guessthe lady (face
off) wouldlike a, um....
CROWNTO WAITER)
Scotchneat for meandI think the lady
wouldlike a, um....
(Scotch neat : see Title #370)
(note that Crownand Catherine are
nowsitting at a table in the restaurant)
(3AB- 148)
R/3ABPI42
TITLE
NO.
MASTER
LIST
CAMERAPULLS BACK SLIGHTLY TO INCLUDE
CROWN, WHOIS SEATED ACROSSFROM
CATHERINEIN LFG.
CATHERINE
What?
1289-04
SCENE162 - MCSo PAST CATHERINE,RFG,
TO CROWNSEATED OPPOSITE HER.
CAMERAPULLS BACK SLOWLYTO INCLUDE
THE TORSOOF THE WAITER, TIPPED IN R.
CROWN
That the lady actually likes champagne.
CIPRIANIWAITER
(face off)
Wehave Krug, u-...
1295-03
473
1289.10 1293.10 4.0
474
1294.2 1297.2
(over scene end)
475
1297.10
476
1300.0 1301.12 1.12
WAITER TO CATHERINE)
Onthe way.
(i.e., 1 will bring the champagne
immediately.)
(the Waiterexits)
477
1302.10 1304.10/ 2.0
CATHERINE TO CROWN)
Youve beenbusy.
(referring to Crownsstudying about
Catherineslikes anddislikes)
3.0
SCENE163 - MS - PAST CROWN,LFG, TO

CATHERINEAS SHE SMILES OVER HER MENU
AT HIM. THE WAITER, STANDING
L0 IS
LEANING DOWNTO HER.
CIPRIANI WALTER
...-h, GrandCuveenineteen eighty-one.
CATHERINE
Soundsgreat, thank you.
CROWN
Wonderful.
1299.10 2.0
CROWNTO WAITER)
Thelady actually likes champagne.
WALTERTO CATHERINE)
Wehave Krug Grand Cuvee1981.
(Krug : champagnemade by the
Houseof Krug, a French winery)
(Grand Cuvee: designation which
describes a blehd of various excellent
vintages)
(1981 : vintage year 1981- note,
however,that Grand Cuveeis a blend
of various vintage years, and therefore
would not have a particular year
designation)
CATHERINETO WAITER)
Soundsgreat.
THE WALTERSTANDS UP AND STARTS

WALKING AWAY.
CIPRIANIWALTER
(face off)
Onthe way.
CROWN
Mm-hm.
AFTER THE WALTER,LEAVES, CATHERINE
SMILES AT CROWN.
CATHERINE
Youve been busy.
CROWN
(chuckles - continues underfollowing sceneand
dialogue)
1304-10
(3AB- 149)

TITLE
NO.
MASTER
ENGLISHSUBTITLF.JSPOI"rlNGLIST

TO CROWNAS HE LAUGHSAND SHAKES HIS
HEAD.
CATHERINE
(chuckles)
478
1306.2
1310.6
4.4
479
1311.6
1315.6/ 4.0
480
/1315.12 1320.0
481
CROWN
Im sure your files are thicker than mine.
CATHERINECLOSESHER MENUAND PUTS IT
DOWN.
CATHERINE
Well, the thing that impressedmemost...
CROWNTO CATHERINE)
Im sure your files are thicker than mine.
(i.e., Im sure your files aboutmeare
thicker than myfiles about you.)
CATHERINE TO CROWN)
What impressed me most was getting
from...
(getting : your getting)
CROWNLEANS FORWARDWITH INTEREST.

4.4
CATHERINETO CROWN)
...Glasgow to Oxfordon a boxing
scholarship.
(Glasgow: city in Scotland)
(Oxford: prestigious British university
located in the city of the samename)
(on : through)
1320.6
1323.10 3.4
CROWNTO CATHERINE)
(with Scottish accent)
Not bad for a weelad from Glasgee.
(Not bad : Not an unimpressivefeat)
(wee : small- slight)
(lad : fellow)
(Glasgee: Scottish pronunciation of
Glasgow)
482
/1324.6
1328.12 4.6
CROWNTO CATHERINE)
It waseasy. Rich kids cant box.
(It : Succeedingat boxing at Oxford)
(Rich kids : referring to the fact that
the majority of Oxford students would
comefrom wealthy families)
483
1331.6
1334.10 3.4
CROWNTO CATHERINE)
Thehard part waslearning to talk.
(referring to his getting rid of his lowerclass Scottish accentand talking with
an upper-classBritish accent)
484
1336.6 1340.2
(over scene end)
CROWN
Mm-hm?
CATHERINE
...was getting from...
1315-08
SCENE168-MS-PASTCROWN, LFG, TO
CATHERINE.
CATHERINE
...Glasgowto Ox~rdonaboxingscholarship.
CROWN
Mm,not bad for a weelad from Glasgee.
CATHERINE
Mm.
CROWN
Itwasea-...
1324-04
TO CROWN.
CROWN
...-sy. Richkids cant box.
CATHERINE
(chuckles)
CROWN
Thehard part waslearning to talk. But yo-...
1337-00
3.12
CROWNTO CATHERINE)
But you now. The matador?
(you : lets talk aboutyou)
(matador: bullfighter whohas the
principal role andwhokills the bull in a
bullfight - meaningthat Catherinehad
an affair with a matador)
(3AB- 150)

TITLEI
NO.
MASTER
ENGLISHSUBTITLE./SPOIrlNGLIST

CATHERINE.
CROWN
...-u now. The matador?
CATHERINE
Yeah.
CROWN
TheItalian industrialist. TheAm-...
485
1341.2 1345.8
(over sceneend)
4.6
CROWNTO CATHERINE)
TheItalian industrialist. The Ambassadors
son?
(two more menwith whomCatherine
hadaffairs)
486
1345.14 1349.2
(over sceneend)
3.4
CROWNTO CATHERINE)
-He wascute.
-He was 17!
(He : The Ambassadorsson)
(17 : 17 years old)
487
1349.10 1351.6
1.12 "
CATHERINETO CROWN)
Yes, he was.
488
1351.12 1357.0 5.4
CROWNTO CATHERINE)
Thats a fair litany for a girl fromLima,
Ohio.
(That : Thatlist of lovers)
(litany : lengthyrecitation or
enumeration)
489
1357.6 1363.8/
CROWNTO CATHERINE)
But whatI didnt get--I mean,its obvious
you like men-(get : understand)
490
1364.8
1343-12
TO CROWN.
CROWN
...-bassadors son?
CATHERINE
He wascute.
CROWN
(overlapping)
He wasseven-...
1347-10
CATHERINEAS SHE GRINS.
CROWN
...-teen.
CATHERINE
(overlapping)
(chuckles) Yes, he was.
CROWN
(overlapping)
Youmustadmit, thats a fair litany for a young
girl fromLima, Ohio. But the part I didnt get-- I
mean,its obviousthat you like men...
1363-10
TO CROWN.
6.2
CROWN
...but you never keep any of themaroundvery
long, either.
1369-13
1369.6
4.14
CROWNTO CATHERINE)
--but you never keep any of themaround
very long.
(them : your lovers)
(around : with you)
(meaningthat her affairs are always
short-term)
(3AB- 151)

TITLE
NO.
MASTER
LIST

CATHERINEAS SHE PAUSESAND PICKS UP
HER GLASS OF WATER.
CATHERINE
Oh, (exhales) well, menmakewomenmessy.
1379-07
491
1375.10 1379.6/ 3.12
CATHERINE TO CROWN)
Men make womenmessy.
(messy: presumably, lacking
precision- careless - vexing)
(the Waiter pours Catherines
champagne)
492
1385.10 1387.10 2.0
CATHERINETO WAITER)
Thankyou.
493
1392.6
CROWN)
(toasting)
Heresto the fear of beingtrapped.
(a short while later, the Waiterbrings
their meals)
SCENE172 - CS - PAST CATHERINE,RFG, TO

CROWNAS HE WATCHESHER SIP HER
WATER,INTRIGUED.
1384-10
SCENEt73 o MCS- PAST CROWN,LFG, TO
CATHERINEAS THE WAITERS HANDENTERS
L WITH HER GLASSOF CHAMPAGNE.
CATHERINE
Thankyou. (clicks tongue)
CATHERINE SETS DOWNHER WATERAND
LOOKSUP AT CROWN
AS THE WAITERS
HAND SERVESCROWNHIS SCOTCH.
1391-07
TO CROWN
AS HE RAISES HIS GLASSOF
SCOTCHTO HER. THE WAITERS TORSOIS
TIPPEDIN R.
CROWN
Heres to the fear of being trapped.
CROWNSTARTSTO SIP HIS SCOTCH.
1398-07
1396.6
4o0 -
SCENE175 - INT. ROOM

- NIGHT- MCS- A
DETECTIVES HANDS REMOVESOMEKEYS
FROM CROWNSKEY RING AND HOLD ONE
OF THEMUP.
1406-05
SCENE176 - CS - A SECOND
DETECTIVES
HAND HOLDS AN UNCUTMATCHINGKEY UP
AGAINSTTHE KEY IN THE FIRST
DETECTIVES HAND, THEN HE TAKES BOTH
KEYS.
1410-15
(3AB- 152)
"THE THOMAS
CROWN
AFFAIR"
R/3AB PI46
TITLE
NO.
MASTER
LIST
SCENE177 o CS - THE SECOND

DETECTIVES
HANDINSERTS CROWNSKEY INTO A KEYDUPLICATING MACHINE, THEN CAMERA
TILTS UP TO THE UNCUTMATCHINGKEY AS
HE PLACESIT IN ANOTHER
SLOT,
PREPARING
TO CUT IT.
1422-03
SCENE178 - INT. CIPRIANI - NIGHT- MCSPAST CROWN,LFG, TO CATHERINEAS THE
WAITERENTERSL TO SERVE HER DINNER.
PEOPLEIN CIPRIANI
CIPRIANI WAITER
Heresthe fish for the lady.
494
1422.10 1425.6 2.12
WAITER TO CATHERINE)
Thefish for the lady.
495
1426.10 1429.6
(over sceneend)
WALTER TO CROWN)
Lambchops for the gentleman.
(chops : small cuts of meatincluding
part of a rib)
CATHERINE
Thankyou.
CIPRIANIWAITER(overlapping)
Please.
THE WAITER STANDSUP OUT OF FRAME
AND TURNS TO CROWN.
CIPRIANIWALTER
(face off) (contd)
Youre welcome.Andthe I-...
1427-00
2.12

TO CROWNAS THE WAITER SERVESHIM HIS
DINNER.
CIPRIANI WAITER
...-amb chopsfor the gentleman.
CROWN
Thankyou.
CIPRIANIWAITER
(overlapping)
Please.
THE WAITER STANDSUP OUT OF FRAMEAS
CAMERASLOWLY PULLS BACK FROM
CROWN.
(3AB- 153)
R/3ABPI47
TITLE
NO,
MASTER
LIST
CROWN
Andwed like to pre-order souffles. And, uh, Id
496
1429.14 1432.6 2.8
CROWNTO WAITER)
Wedlike to pre-order souffles.
. (pre-order : order in advance)
(souffle : dish madefrom a sauce,
egg yolks, beaten egg whites and a
flavoring [for a dessertsouffle, usually
chocolate or lemon], andbakeduntil
puffed up)
(note that dessert souffles mustbe
orderedin advanceof the usual time
one would order a dessert becauseof
the preparation time involved)
497
1432.14 1438.2 5.4

(over sceneend)
CROWNTO WAITER)
Andsend a bottle of burgundyto those two
gentlemen.
.(burgundy: type of full, dry red wine
producedin the Burgundyregion of
France)
(those two gentlemen:. referring to
two Plainclothes Copsseated at
anothertable)
498
1438.10 1441.2/ 2.8
WAITER TO CROWN)
Of course,sir.
(the Waiterexits)
499
1441.12
CROWNTO CATHERINE)
At least they look uptown. The two
yesterdaylookedlike flashers.
(they : referring to the two
Plainclothes Cops)
(uptown: relating to the uptownarea
of Manhattan
- i.e., upscale- like
they comefrom the wealthier area of
the city)
(two yesterday: i.e., two police
officers whowere following me
yesterday)
(flasher : exhibitionist whoexposes
his genitals - i.e., seedyandmentally
unbalancedperson)
500
1447.10 1451.0/
like to senda bottle of burgundyto those two

gentlem-...
CROWNNODS RFG PAST THE WAITER.
1437-05
SCENE180-MS-CROWNSPOV-LOOKING
ACROSSTHE RESTAURANTTO TWO
INELEGANT PLAINCLOTHESDETECTIVES
SEATEDAT ANOTHERTABLE.
CROWN
(off)
...-en over there.
CIPRIANIWALTER
(off)
Of course,sir.. Enjoy.
CROWN
(off)
Thankyou...
1441-04
SCENE181-MCS-PASTCROWN, LFG, TO
CATHERINEAS SHE GLANCESBACK AT THE
O.S. DETECTIVESAND THEN TURNSTO
CROWN,GRINNING.
CROWN
...very much.(to Catherine)At least they look
1447.0 5.4
like uptown. The ones yesterday looked like

flashers.
CATHERINE
Well, wedo our best.
CROWN
Im underglass.
1451-02
3.6
CROWNTO CATHERINE)
-Wedo our best.
-Im underglass.
(Wedo our best : dryly meaning,We
try to sendour best mento follow you)
(under glass : i.e., under constant
scrutiny)
(3AB- 154)

TITLE
NO.
MASTER
LIST
SCENE182 - MS o PAST CATHERINE,RFG, TO

CROWN
AS HE STARTSTO EAT HIS MEAL.
CROWN
Soonyoull knoweverything about me. (chews)
CATHERINE
(overlapping)
Thereare things we dont know.
501
1453.2
502
1457.14 1460.10 2.12
CATHERINE TO CROWN)
There are things we dont know.
503
1461.14 1463.51 1.7
CROWNTO CATHERINE)
Like what?
504
1466.6
CATHERINETO CROWN)
Like why.
(why : whyyou stole the Monet)
505
1469.10 1471.10 2.0
CATHERINE TO CROWN)
Were you bored?
506
1472.14 1477.14 5.0

(over scene end)
CATHERINE TO CROWN)
Acquisitions andmergerslooking a little
stodgy?
(Acquisitions and mergers: referring
to the area of finance involving the
purchaseof other companiesand the
merging of ones owncompanywith
other companies- Crowns area of
expertise)
(looking : getting to be)
(stodgy : boring- dull)
507
1481.2 1485.2
(over scene end)
CATHERINE TO CROWN)
Is it morefun getting it than keepingit?
(getting it : i.e., acquiring a hugely
valuableworkof art)
508
1485.10 1488.10 3.0
1456.10 3.8
CROWNTO CATHERINE)
Soonyoull knoweverything about me.
CROWN
(chewing) Like what?
1463-05
CATHERINEAS SHE SIPS HER WATER.
CATHERINE
(drinks) Like why.
1467.12/ 1.6
1467-12
SCENE184- MCS- PAST.CATHERINE,TIPPED
IN RFG, TO CROWN
AS HE LOOKSAT HER
CURIOUSLY.
CROWN
(chews- continues under following scenesand
dialogue)
CATHERINE
Wereyou bored?Acquisiti-...
1473-12
CATHERINESMIRKING AT HIM.
CATHERINE
...-ons andmergerslooking a little
stodgy?Is it
morefun getting it...

1483-04
SCENEt86 - MCS- PAST CATHERINE,TIPPED
IN RFG, TO CROWN.
4.0
CATHERINE
...than keepingit?
CROWN
(chewing)Andis this the fun part for you?
CATHERINE
How do you mean?

CATHERINE TO CROWN)
-Is this the fun part for you?
-How so?
(this : pursuing me[or any criminal])
(3AB- 155)

TITLEi
NO.
MASTER
ENGLISHSUBTITLE/SPOI"IINGLIST
CROVVN
Itsnotaboutthemoney.
Youlikethe...
1492-09i
509
1489.0
1491.4
2.4
CROWNTO CATHERINE)
Its not about money.
(see Title #339- here implying, Youre
not interested in the moneyyou earn
for recoveringart.)
510
1491.14 1494.6
(over sceneend)
2.8
CROWNTO CATHERINE)
Youlike the chase.
511
1496.6
512
1499.10 1504.2
513
1504.10 1509.6/ 4.12 .
CROWNTO CATHERINE)
-Mybrothers said I hadno mindfor it.
And nowtheyre plumbers.
(I hadno mindfor it : i.e., l hadno
mental acumento play poker)
514
1510.6 1513.61 3.0
CATHERINE TO CROWN)
But you knewthat.
(that : that my brothers had become
plumbers)
(they finish their mealsandorder
espressos)

CATHERINE.
CROWN
...chase. (chews) Not manywomenget
chase.
1498.61 2.0
1498-06
LOOKSRFG AT
O.S. CATHERINE.
CROWN
(chews)Its like poker, wedont let you in the
4.8
game. (chews)
CATHERINE
(off) (overlapping)
Youre right. Mybrothers said I didnt havethe
mindfor it.
CROWN
(chewing) Andnow theyre plumbers.
CROWNTO CATHERINE)
Most womendont get to chase.
(referring to the fact that women
are
usually pursuedby men[with regard to
romance])
CROWNTO CATHERINE)
Its like poker--wedont let you in the
game.
(Its like : i.e., The samesituation
occursin)
(we : we men)
(let you in : allow you to participate
in)
(referring to the fact that women
are
rarely invited to join in menspoker
games)
1509-08
SCENE189-MCS-PAST CROWN, LFG, TO
CATHERINE.
CATHERINE
Oh, butyouknewthat.
1513-08
SCENE190 - INT. ROOM
o NIGHT- CS - THE
KEY-DUPLICATING MACHINE MOVESOVER
THE GROOVESIN CROWNSKEY. CAMERA
TILTS UP TO REVEALTHE OTHERKEY BEING
CUT TO MATCH, THEN CAMERATILTS DOWN
TO CROWNSKEY AGAIN.
1529-02
(3AB- 156)
"THE THO..~,AS CROWN

AFFAIR" R/3AB PIS0
TITLE
NO.
MASTER
SCENE
191 o INT. CIPRIANI- NIGHT- MCSPASTCATHERINE,RFG, TO A CUP OF
ESPRESSO
AS CROWN
PICKS IT UP.
CAMERATILTS UP WITH THE ESPRESSOTO
INCLUDE CROWNSFACE.
PEOPLE
IN CIPRIANI(off)
CROWN
(face off)
Hm,(on) can I ply you with anything else?
515
1530.2
1532.12 2.10

CATHERINE TO CROWN)
-Can I get you anything else?
-Nothing.
516
1533.2
1535.2 2.0
CROWNTO CATHERINE)
Wouldyou like a--
517
1535.10 1537.101 2.0
CATHERINE TO CROWN)
Wouldyou like a deal?
(deal : arrangementfor mutual
advantage- here, referring to making
an arrangementthat he return the
painting in exchangefor a reduced
sentence)
518
1540.0
CATHERINE TO CROWN)
Makeit easyon yourself.
(i.e., Reducethe severity of your
situation.)
CATHERINE
Nothing.
CROWN
Cheesetray? Wouldyou like a, um-CATHERINE
(overlapping)
Wouldyou like a deal?
1537-11
SCENE192 o MCS- PAST CROWN,LFG, TO
CATHERINESTARING AT HIM OVERHER CUP
OF ESPRESSO.
CATHERINE
Makeit easyon yourself. Well just get more
1543.2
3.2
warrants, searches.
1548-03
SCENE193 - MCS- PAST CATHERINE,TIPPED
IN RFG, TO CROWN.
519
1545.0 1548.2/ 3.2
CATHERINE
Messup your carpeting.
1551.14 2.8
520
1549.6
521
1553.14 1555.8 1.10
CROWNTO CATHERINE)
MayI...
522
1560.10 1564.8/ 3.14
CROWNTO CATHERINE)
...ask you a very personal question?
CROWN
May
I ....
CROWNLEANS HIS HEAD OVER THE TABLE
AND SPEAKSQUIETLY.
CROWN
(contd)
MayI ask you a very personal question?
1564-10
CATHERINE TO CROWN)
Well just get morewarrants.
(warrant : see Title #428)
CATHERINE TO CROWN)
Messup your carpeting.
(Messup : Ruin Dirty)
(meaningthat the police officers
continually searchingthe housewill
ultimately ruin the carpeting)
(3AB- 157)

TITLE
NO.
MASTER
LIST
SCENE194 - MCSo PAST CROWN,LFG, TO

CATHERINEAS SHE LOOKSAT HIM
CURIOUSLY, CAMERASLOWLYDOLLYING IN
ON HER.
CATHERINE
Whynot?
523 - 1565.6 1567.2 1.12
CATHERINETO CROWN)
Whynot?
524
1571.6
CROWNTO CATHERINE)
Wouldyou like another hit of espresso?
(hit : small amount)
(espresso : coffee brewedby forcing
steamthrough finely grounddarkly
roasted coffee beans)
(Catherine stares at Crown)
525
1576.14 1581.2! 4.4

CATHERINE TO CROWN)
-Wouldyou like--Another hit of espresso?
526
1584.12 1587.2
(over sceneend)
CATHERINE TO CROWN)
Thats the personal question?
527
1587.10 1590.2 2.8
1569-13
TO CROWN.
CROWN
(smackslips) Wouldyou like another hit
1574.14/ 3.8
espresso?
1575-00
SCENE196 o MCS- PAST CROWN,LFG, TO
CATHERINEAS SHE REACTSIRRITABLY.
CROWN
Wouldyou...like another-CATHERINE
(overlapping)
Like another hit of espresso?
1581-04
SCENE197 - MCS- PASTCATHERINE~
RFG,.
TO CROWN
AS HE NODSAND SMIRKS..
CROWN
Mm. W-CROWNPICKS UP THE ESPRESSOPOT AND
OFFERSIT TO HER.
CATHERINE
Thats the...
1585-12
2.6

CATHERINESTARINGAT HIM.
CATHERINE
...ve~ personalquestion?
CROWN
Thatsasgoodasitget
s.
CROWN
TO CATHERINE)
Thats as goodas it gets.
(i.e., That questionis as personalas
Ill everallow myselfto be.)
(3AB- 158)

TITLE
NO.
MASTER
CATHERINECHUCKLESIRRITABLY.
CATHERINE
Oh, (chuckles insincerely) excuse me. May
528
1591.10 1593.10 2.0
CATHERINETO CROWN)(amused)
Excuse me.
529
1595.6 1598.2
(over sceneend)
CATHERINE TO CROWN)
MayI ask you a personal question?
530
1598.8
531
1601.6 1606.2 . 4.12

(over scene end)
CATHERINETO CROWN)
Doyou really think Id sleep with a manI"m
investigating?
(sleep with : slang for, have sex
with)
532
1610.0 1612.4 2.4

(over scene end)

CATHERINE TO CROWN)
-Is that the question?
-Yes.
ask you a very personal...

1597-05
2.12

TO CROWN.
CATHERINE
...question?
CROWN
Oh, sure, by all means.
..
1601.0
2.8
CROWNTO CATHERINE)
By all means.
(colloquialfor, Certainly.)
CATHERINE
Doyoureally thi-...
1602-04
SCENE200 - MCS- PAST CROWN,TIPPED IN
LFG, TO CATHERINE.
CATHERINE
...onk Im goingto sleep with a manIm
investigating? Hm?
CROVVN
(overlapping)
1607-07
TO CROWN.
CROWN
Is that the...
1610-09
(3AB- 159)

TITLE:
NO.
MASTER

LFG, TO CATHERINE.
CROVVN
...question?
CATHERINE
Yes,thats it.
CROVVN
Now, why should I answeryour question when
533
1612.10 1619.6
(over sceneend)
6.12
534
1620.6
1625.105.4
(over sceneend)
1615-05
CROWNTO CATHERINE)
Whyshould I answerwhenyou didnt
seriously committo myespresso?
(my espresso: i.e., my question
concerningespresso)

IN RFG, TO CROWN.
CROWN
...-ou didnt seriously committo myespresso?
CATHERINE
(overlapping)
(chuckles).All right, Ill seriousl-...
CATHERINESTARTS TO GET UP.
1622-07
CATHERINEAS SHE STANDSUP FROMTHE
TABLE, CAMERA
TILTING UP WITH HER.
CATHERINE
TO CROWN)
(smiling)
All right. Ill seriously committo your
espresso.
(All right : Verywell)
(Catherine excusesherself to go to the
ladies room- she remainsin the hall
andwaits for a plainclothes cop to
return with Crownskeys [which have
beenduplicated] - he finally does)
CATHERINE
...-ycommittoyourespresso..
CATHERINE TURNS AND WALKS AWAY FROM
THE TABLE. CAMERATILTS DOWNTO
FOCUS ON HER TORSOAS CROWN
WATCHESHER WALK ACROSSTHE ROOM.
1631-11
SCENE205 - MCS- CROWNCHUCKLESTO
HIMSELF.
CROWN
(chuckles)
1634-13
SCENE206 o MS - CAMERAFOLLOWS
CATHERINES TORSOAS SHE WALKSINTO
THE RESTAURANTSBACK HALLWAY.
CAMERATILTS UP TO HER FACE AND HOLDS
AS SHE STOPS SHORTOF ENTERING THE
LADIES ROOMAND WAITS.
1643-07
(3AB- 160)

TITLE
NO.
LIST
SCENE
207 - INT. CIPRIANI- LATER- MSCAMERATILTS UP FROM CROWNSHANDS
CHECKINGHIS WATCHTO HIS FACE AS HE
WAITS IMPATIENTLY. HE LOOKSRFG AT THE
O.S. DETECTIVESANDGRINS.
1663-03
SCENE208 - MS - CROWNSPOV- LOOKING
THROUGHTHE CROWDTO THE TWO SPYING
DETECTIVESAS THEY LOOKBACK AT O.So
CROWNAND RAISE THEIR WINE GLASSESTO
HIM.
1655-15
SCENE209 - MS - LOOKINGTHROUGH
THE
CROWDTO CROWNAS HE WAVESBACK AT
THE O.S. DETECTIVESAND CHEWSON A
CHOCOLATEWAFER.
1661-00
SCENE210 - INT. CIPRIANI/BACKHALLWAY
o
NIGHT - MFS - CATHERINEPACES
ANXIOUSLYIN THE HALLWAY,WAITING FOR
SOMETHING.
1669-07
DOLLIES IN PAST
A SMALL CROWDTOWARDA BACK DOORAS
THE MALE TOURIST FROMTHEMUSEUM
SUDDENLYBURSTS IN, LOOKINGAROUND
FRANTICALLY.
1672-02
SCENE212 - MCS- CATHERINETURNSRFG
ANDSEES THE O.S. TOURIST, THENSTARTS
RUNNINGTOWARDHIM.
1674-02
SCENE213 - MS o CAMERAFOLLOWS
CATHERINE AS SHE RUNS THROUGHTHE
HALL TOWARDTHE MALE TOURIST, WHOIS
RUNNING TOWARDHER. HE DISCREETLY
SLAPS CROWNSKEYS INTO HER HANDAS
HE PASSES.
1677-03
SCENE214 - EXT. CATHERINES
BROWNSTONE
- NIGHT - MCS- CATHERINE
OPENSHER FRONT DOOR, THEN TURNSTO
CROWNAS HE STEPS UP ONTOTHE STOOP
WITH HERIN RFG.
1680-12
(3AB- 161)
~rHE THOMAS
CROWN
AFFAIR"
R/3ABPI55
TITLE
NO.
SCENE215 - MCSo PAST CATHERINE,LFG,

TO CROWNSTANDING VERY CLOSE TO HER.
SHE KEEPS HER FACE TURNED AWAYFROM
HIM, AND AFTER A MOMENT,HE TAKES A
STEP BACK.
CATHERINE
Id let youin, but--
535
1687.10 1689.10 2.0
CATHERINE TO CROWN)
Id let youin-(in : into myapartment)
(it is later - Crownhasbrought
Catherineto her apartment- he stands
close behind her as she unlocks her
door)
536
1689.14 1693.9/ 3.11
CROWNTO CATHERINE)
...but the world is watching.
(referring to the fact that he is under
continual surveillance)
537
1695.5 1696.13 1.8
CATHERINE TO CROWN)
Yes.
538
1697.3 1701.5/ 4.2

(over sceneend)
CROWNTO CATHERINE)
Andbesides, you have no furniture.
(meaning that somehowCrownhas
found out that Catherines apartmentis
very sparsely furnished)
539
1701.13 1707.3/ 5.6
CATHERINE TO CROWN)
Oh, thats good. Thats very good.
(that : the fact that you found out
haveno furniture)
(good: skillfully investigated)
(Catherine leans over and kisses
Crownlightly on the cheekas she
does, she slips his keys backinto his
pocket with a loud jangling sound)
540
1711.4
CATHERINE TO CROWN)
Goodnight.
CROWN
(overlapping)
But the world is watching.
1693-10
SCENE216-MCS-PAST CROWN, RFG, TO
CATHERINE.
CATHERINE
Yes, theyare.
CROWN
Andbesides...
. 1698-11
SCENE217 - MCS- PASTCATHERINE,LFG,
TO CROWN.
CROWN
...youve got no furniture.
1701-06
CATHERINE.
CATHERINE
Oh, thats good, thats very good.
1707-05
CATHERINEAS SHE LEANS HER FACE CLOSE
TO HIS TO GIVE HIM A KISS ON THE CHEEK.
CAMERAQUICKLY TILTS DOWNCROWNS
BACK TO REVEAL CATHERINES HAND
SLIPPING HIS KEYSBACKINTO HIS JACKET
POCKET.
CATHERINE
(off)
(kissing sound) Goodnight.
1713.0 1.12
CROWN
(face off)
Goodnight.
1715-00
(3AB- 162)
R/3ABPI56
TITLE
NO.
MASTER
LIST
SCENE220 - MCSo PAST CATHERINE,LFG,

TO CROWNAS SHE TURNS AWAY FROMHIM
AND EXITS FRAME.
1718-14
SCENE221 - FS - LOOKINGDOWNTHE
STREETTO CATHERINESBUILDING AS SHE
EXITS INTO IT AND SHUTSTHE DOOR
BEHIND HER. CROWNTHEN TURNS AND
WALKSDOWNTHE STEPS, HEADING R ~
ACROSSTHE STREET AS CAMERAPANS
WITH HIM TO REVEALHIS LIMO WAITING. HE
STARTS TO OPEN THE DOOR.
1734-14
SCENE222 - INT. CATHERINES
BROWNSTONE
- NIGHT - MFS - CAMERA
SLOWLYTILTS UP FROMCATHERINES LEGS
TO HER FACE AS SHE REMOVESHER COAT
AND SETS IT DOWNON A SMALL DESK. SHE
LOOKSBACK RFG TOWARDTHE O.S. DOOR.
1751-14
POVCAMERA APPROACHESA WINDOWTHROUGH
WHICH CROWNCAN BE SEEN PAUSING
OUTSIDEHIS LIMO, LOOKINGUP AT O.S.
CATHERINE.
1757-06
SCENE224 - INT. MCCANNSAPARTMENT
NIGHT - MCS- MCCANN
TALKS ON THE
TELEPHONE.
PEOPLE
ONTELEVISION
(over television)
following dialogue)
541
MCCANN
(into telephone)
Alone?
MCCANNLOWERSTHE RECEIVER IN
FRUSTRATIONAND TURNS TO WALK BG
DOWNA HALL INTO THE KITCHEN, WHEREA
TELEVISION IS ON. HE GRABSA BOTTLEOF
BEER FROMTHE COUNTERAND TAKES A SIP
BEFOREHANGINGUP THE PHONE.
1784-08
1772-08
1759.4
1761.0 1.12
MCCANN
TO PARETTI)(into telephone)
Alone?
(i.e., Catherinewentinto her
apartmentalone?)
(note that Paretti has called McCann
at
his Queensapartmentto report on the
end of Crownand Catherines date McCann
gets an answerfrom Paretti
and then hangs up the phone)

END OF REEL 3AB
END OF REEL 3AB
(3AB- 163)
R/4ABPIt
START MEASURING
ACADEMYLEADER.
12-00
SCENEt - INT. VAN- DAY- FS - LOOKING
OUT A WINDOWAND ACROSSTHE STREET
TO THE FRONT OF CROWNS TOWNHOUSE
AS PAUL EMERGES.A COUPLEIS WALKING
L PAST THE BUILDING.
TITLE
NO,
MASTER
ENGLISHSUBTITLE/SPOt"rINGLIST
28.7 = 1ST SCENEEND
38.0 = 2ND SCENEEND
45.3 = 3RD SCENEEND
MAN OUTSIDE CROWNS

(low andindistinct)
WOMANOUTSIDE CROWNS
(low) Thats whathe said.
PAUL WALKS DOWNTHE STEPS, BUTTONING
HIS JACKET, THENWALKSR ,~.LONG THE
SIDEWALK, CAMERAPANNINGWITH HIM TO
THE VANS WINDSHIELD.
28-07
- DAY
o FS - HIGH ANGLE- LOOKINGDOWNTHE
STREETTO PAUL AS HE WALKSOFF INTO
THE DISTANCE. CAMERACRANESDOWNTO
REVEAL THE VAN PARKEDAT THE CURB AS
A MANDISGUISED AS CLEANINGMAN#1
GETS OUTSOUT OF THE PASSENGERSEAT.
THE SIDE OF THE VAN READS:
ALADDIN
CLEANINGSERVICE
CAMERADOLLIES L AROUNDTHE BACK OF
THE VAN TO REVEALTHE DRIVER, A MAN
DISGUISED AS CLEANINGMAN#2, COMING
AROUNDIT TO MEETCLEANINGMAN#1.
38-00
SCENE3 o MCS CLEANINGMAN#1S HAND
OPENSTHE REAR DOOROF THE VAN TO
REVEAL A MANDISGUISED AS CLEANING
MAN#3 INSIDE. THE MANGETS OUT AS
CAMERAPULLS BACK TO INCLUDE
CLEANINGMAN#2 IN LFG, WHOOPENSTHE
OTHER DOOR.
45-03
(4AB- 164)
~HE THOMASCROWN
AFFAIR"
R/4AB PI2
TITLE
NO.
MASTER
SCENE4 - FS - THE THREECLEANINGMEN

WALK FG DOWNTHE MIDDLE OF THE
STREET WITH THEIR CLEANINGBUCKETS
AND BROOMS. CAMERA RACKS FOCUS AND
TILTS DOWNTO REVEALCATHERINESHIGH
BOOTSEMERGINGFROMA PARKEDCAR IN
LFG. CAMERAPANS WITH HER BOOTSAS
SHE WALKSR ACROSSTHE STREET, THEN
CAMERACRANESUP TO REVEAL HER FACE
AS SHE REACHESTHE CURB AND TROTS UP
THE STEPS TO CROWNSTOWNHOUSE.
69-01
SCENE5 o MCS- CLEANINGMAN#2 SETS HIS
THINGS DOWNBESIDE CROWNSDOOR,
THEN CAMERATILTS DOWNTO HIS HANDS
AS HE PUTS ON SOMEGLOVES. THE OTHER
TWOCLEANING MENENTER R AND DO THE
SAME.
79-09
SCENE6 -CS - CATHERINESHANDSPUT ON
SOMEBLACK LEATHERGLOVES, THEN
CAMERA
TILTS UP TO HER FACE.- THE
CLEANINGMENARE IN BG, ALSO PUTTING
ON THEIR GLOVES.
84-11
SCENE7 - MCS- CLEANINGMAN#1 PUTSON
A PAIR OF GLASSES, THEN REACHESDOWN.
88-01
SCENE8 - MCS- CLEANINGMAN#3S HANDS
TEAROFF A STRIP OF GAFFERSTAPE, THEN
CAMERA
TILTS UP TO HIS FACEAS HE
WRAPSTHE TAPE AROUNDHIS ARM.
9t-09
SCENE9 - CS - CLEANINGMAN#2S GLOVED
HAND INSERTS THE KEY COPY INTO THE
DOORLOCK, THEN CAMERATILTS UP TO HIS
542
FACE AS HE LOOKSLFG AT O.S. CLEANING
MAN#1.
CLEANINGMAN #2
You ready?
94-10
SCENE10 - CS - CATHERINETURNSLFG TO
THE O.S. OTHERS.
95-14
93.10
95.6
(over sceneend)
1.12
CLEANINGMAN#2 TO
CLEANINGMAN#1)
Ready?
(note that Paul has left Crowns
townhouse- Catherine and a group of
mendisguised as a cleaning crew
comeup to the house - Cleaning Man
#2, using the copied keys, unlocks the
door and is ready to enter - Cleaning
Man#1 nods and they enter - the
security systemwarningbuzzer starts Cleaning Men#1 and #2 open the
security panel)
(4AB- 165)
"THE THOMASCROWN
AFFAIR"
R/4AB PI3
TITLE
NO.
SCENEtl - MCS- CLEANINGMAN#1, WHOIS

PREPARINGAN ALARM-TAPPINGDEVICE,
LOOKSUP AND NODS.
CLEANINGMAN#1
Okay.
97-07
SCENE12 - ECS - CLEANINGMAN#2S LEFT
HAND TURNSTHE LOCK AND STARTS TO
OPENTHE DOOR, THEN HIS RIGHT HAND
RISES INTO FRAMEAND STARTSA
STOPWATCH.
99-14
FOYER- DAY - FS - HIGH ANGLE- LOOKING
STRAIGHT DOWNFROMTHE CEILING AS THE
FRONT DOOROPENS AND THE CLEANING
MENAND CATHERINEALL RUN INSIDE WITH
THEIR THINGS. CATHERINESTARTSTO
CLOSE THE DOORAS THE OTHERS HURRY
INTO ACTION.
111-10
SCENE 14- MCS-CATHERINE SHUTS THE
DOORAND TURNSTO CLEANINGMAN #2 AS
HE ENTERSLFG.
114-05
SCENE15 - MCS- CLEANINGMEN#1 AND#3
TAP INTO THE ALARMSYSTEMON THE
WALL.
117-10
SCENE16 - MCS- PAST CLEANINGMAN#1,
RFG, TO CLEANINGMAN#3 AS HE TURNSTO
GRAB A WIRE. CAMERATILTS DOWNAND
RACKSFOCUSTO CLEANINGMAN#1S FACE
AS HE LOOKSUP FROMHIS O.S. DEVICE.
CLEANINGMAN#1
Ground.
543
120.8
122.0/
1.8
CLEANINGMAN#1 TO
CLEANINGMAN#3)
Ground.
(meaningthat they are to makean
electrical connectionto the panel)
(Cleaning Man#3 attaches a wire to
the panel)
544
123.0
124.8
(over sceneend)
1.8
CLEANINGMAN#3 TO
CLEANINGMAN#1)
Okay.
(Cleaning Man#2 checks his
stopwatch)
122-00
SCENE17 - MCS- CLEANINGMAN#3 CLIPS A

WIRE TO THE INSIDE WORKINGS
OF THE
ALARMSYSTEM, THEN STARTS TO SHUT A
PANEL OVER IT. PIN NUMBERSARE RACING
BY ON THE PANELS LED COUNTER.
CLEANINGMAN #3
Okay.
123-15
(4AB- 166)
R/4AB PI4
TITLE
NO.
MASTER
LIST

STRAIGHT DOWNAT CATHERINEAND THE
THREE CLEANINGMENAS CLEANINGMEN#1
.AND #3 WORKON THE ALARMAND
CLEANINGMAN #2 COUNTSOUT THE
SECONDSWITH HIS STOPWATCH.
CLEANINGMAN#2
Ten.
545
125.0
126.10/
1.10
546
127.8
129.8
(overscene end)
2.0
CLEANINGMAN#2)
Eleven.
547
130.4
1.12
CLEANINGMAN#2)
Twelve.
548
133.4
549
136.0
550
138.10 139.10/
126-12
SCENE19 - CS - CATHERINEWATCHES
TENSELY.
CLEANING
MAN#2 (off)
Eleven.
CLEANINGMAN#2)
Ten.
(meaningthat ten secondshave gone
by - normally, a security systemwill
sound a warning buzzer for 30 seconds
before the alarm is activated)
(the other CleaningMenstart the
electronic device, whichworksto
decipher the code)
128-09
TILTS UP ALONG
THE ALARMTAPPING DEVICES TO REVEAL A
COUNTERWHICH IS RACING THROUGH
RANDOMSERIES OF PIN NUMBERSTO FIND
THE RIGHT COMBINATION.
CLEANING
MAN#2 (off)
Twelve. Thirteen.
132.0
135~00
SCENE21 - MCS- CAMERAPANS L FROM
CLEANING MAN#1 TO CLEANINGMAN#3 AS
THEYWAITTENSELY.
CLEANING
MAN#2 (off)
Fourteen.
135.0/ 1.12
138.0
2.0
138-04
CLEANINGMAN#2)
Thirteen.
CLEANINGMAN#2)
Fourteen.
SCENE22 - MCS- CLEANINGMAN#2

COUNTSFROM HIS STOPWATCHAS
CATHERINESTANDSBEHIND HIM, WATCHING
TENSELY.
CLEANINGMAN #2
Fifteen.
139-10
1.0
CLEANINGMAN#2)
Fifteen.
SCENE23 - CS - CATHERINEGLANCESRFG
OVERAT THE O.S. ALARM.
141-01
(4AB- 167)
R/4AB PI5
TITLE
NO.
SCENE24 - ECS - THE PANELIN FRONTOF

THE ALARMSHOWSTHAT HALF THE PIN
NUMBERSHAVE BEEN FOUND.
CLEANINGMAN#2 (off)
Sixteen.
551
141.12
143.12 2.0
CLEANINGMAN#2)
Sixteen.
552 145.12
147.121 2.0
CLEANINGMAN#2)
Seventeen.
553 149.0
150.0/
1.0
CLEANINGMAN#2)
Eighteen.
554
152.8
154.0
1.8
CLEANINGMAN#2)
Nineteen.
(the devicefinishes calculating the
codeand turns off the security system)
555
154.6
156.2/
1.12
CLEANINGMAN#3 TO
CLEANINGMAN#2)
Gotit.
(it : the code)
556
157.4
159.10
2.6
CLEANINGMAN#2 TO
CLEANINGMAN#1) (amused)
Youreslipping, Larry.
(slipping : falling off froman
accustomed
level or standard of
behavior or performance)
(dryly meaningthat Cleaning Man#1
isnt as fast at getting the codesas he
usedto be)
CAMERATILTS UP TO THE FACE OF

CLEANINGMAN#3 AS HE LOOKSBACK
WORRIEDLY.
145.06
SCENE25 - CS - CATHERINELOOKSRFG AT
THE O.S. ALARM.
CLEANING
MAN#2 (off)
Seventeen.
148-00
SCENE26 - ECS - THE STOPWATCH
COUNTS
.FROM 18 TO 19 SECONDS.
CLEANING
MAN#2 (face off)
Eighteen.
150-02
SCENE27 - CS - CLEANINGMAN#2 GLANCES
UP FROMTHE O.S. STOPWATCH.
152-00
SCENE28 - ECS - THE COUNTER
ON THE
ALARMTAPPING DEVICE SHOWSTHE FINAL
PIN NUMBERLOCKINGINTO PLACE.
CLEANING
MAN#2 (off)
Nineteen.
CLEANING
MAN#1 (off)
Gotit.
156-04
SCENE29 - MCS- PAST CLEANINGMAN#2
TO CATHERINEAS SHE STARTS TO CROSSL
BEHINDHIM.
CATHERINE
Good.
CLEANINGMAN#2
Youreslippin, Larry.
(4AB- 168)
R/4AB PI6
COMBINED
TITLE
NO.
MASTER
CAMERAPANS WITH CATHERINE, OFF
CLEANINGMAN#2, AS SHE WALKSLBG
~HROUGH
TIiE FOYER.
CLEANING
MAN#1 (off)
Gimme
a break, all right? Guys got a ten-digit
557
160.0
166.0
6.0
CLEANINGMAN#1 TO
CLEANINGMAN#2)
Give me a break. The guy has a ten-digit
PIN.
(Give mea break : slang for, Give
mea rest from your criticism or
teasing)
(The guy : Crown)
(PIN : initials for, Personal
Identification Number- referring to any
type of numerical code one uses to
accessones ownaccount, security
system,etc.)
(implying that the PINused as the
code for Crownssecurity systemis
abnormallylong)
(Catherine and the crew enter the
townhouse)
558
/172.6
176.0/
3.10
CATHERINETO CLEANINGMAN#2,
THEN CLEANINGMAN #2 TO
CATHERINE)
-Check the basement.
-Yougot it.
(Yougot it : i.e., Your requestwill be
takencare of)
(Catherine movesthrough the
townhouse,checking rooms- she
stops in the denand looks around,
then feels underthe edgeof the desk
andfinds the button to openup the
section of the wall whereCrownhid the
Monetearlier)
PIN.
CAMERAHOLDSIN MFS AS CATHERINE
PAUSESIN THE MIDDLE OF THE FOYERTO
LOOK AROUND. CLEANING MAN #2
REENTERSRFG AND APPROACHESHER.
172-04
SCENE30 o MS - CATHERINELOOKSR AT
THE O.S. STAIRS AS CLEANINGMAN#2
WALKSBG PAST HER, L.
CATHERINE
Checkthe basementfirst.
CLEANINGMAN #2
Yougot it.
176-01
DOWNSTAIRS
- DAY - MFS- HIGH ANGLEo
LOOKINGDOWNPAST A LIGHTING FIXTURE
TO CLEANINGMAN #3 AS HE SEARCHES
UNDERA TABLE
179-10
SCENE32 - MS - CLEANINGMAN#2
SEARCHESBEHIND SOMELARGE PAINTINGS
HANGINGON THE WALL AS CAMERADOLLIES
L THROUGHA DOORWAY,OFF HIM.
184-06
UPSTAIRS- DAY - MS - CAMERA
PANS WITH
CATHERINESLEGS AS SHE WALKSL INTO A
ROOMPAST SOME FRAMEDPAINTINGS
LEANINGAGAINST THE WALL.
190-03
SCENE34 o MCS- CATHERINEWANDERS
THROUGHTHE ROOM, CAMERADOLLYING
BACK WITH HER.
195-15
(4AB- 169)
THE THOMASCROWNAFFAIR"
R/4ABP/7
COMBINED
TITLE
NO.
MASTER

DOWNSTAIRS
- DAY - MS o CLEANINGMEN#2
AND #3 SEARCHBEHIND MOREPAINTINGS
ON THE WALL AS CAMERADOLLIES L PAST
THEM INTO A DOORWAY.
202-10
UPSTAIRS- DAY o MS - CAMERAFOLLOWS
CATHERINES LEGS AS SHE WALKS
THROUGHA DOORWAY
INTO A BEDROOM.
SHE PAUSESA MOMENT,AND CAMERATILTS
UP TO REVEAL SEVERAL FRAMEDETCHINGS
HANGINGON THE WALL.
214-00
SCENE37 - MS - CATHERINELOOKSR UP AT
AN O.S. PAINTING AS CAMERACRANES
DOWNAND CIRCLES L BEHIND HER TO
REVEALTHE PAINTING SHE IS LOOKINGAT.
IT IS A LARGE WORKSHOWINGWOMEN
AROUNDA REFLECTINGPOND.
225-12
CLOSET- DAY - MCS- CAMERA
DOLLIES
BACK WITH CATHERINEAS SHE WALKS
ALONGA LONGRACK OF SUITS, SEARCHING
AMONGTHEM. CAMERATILTS DOWNTO
SOMEBRASS KNUCKLESIN HER HAND AS
SHE TURNSAND WALKS R ACROSSTHE
CLOSET.
230-03
BEDROOM
- DAY - MCS- CAMERADOLLIES
WITH CATHERINES TORSOAS SHE WALKSL
PAST A DRESSERON WHICH THERE ARE
SEVERAL FRAMEDPHOTOGRAPHSOF
BEAUTIFUL WOMENCROWNHAS DATED.
CATHERINETWIRLS THE BRASS KNUCKLES
IN HERHAND.
237-14
STUDYo DAY - MCS- CAMERA
CIRCLESL
AROUNDCATHERINE AS SHE TURNSTO
SCAN THE ROOM. THE COPY OF THE
MAGRITTEPAINTING IS REVEALEDON THE
WALLIN BG AS CATHERINESPOTSIT.
244-11
(4AB- 170)
R/4AB PI8
TITLE
NO.
MASTER
SCENE41 - CS - CATHERINESTARESRFGAT
THE DoS. MAGRITTEPAINTING AND PRESSES
A BUTTONON THE BRASS KNUCKLESTO
POP OUT A SWITCHBLADE.SHE STEPS R
AND REACHESOUT WITH THE KNIFE AS
CAMERAPANS WITH IT TO INCLUDE THE
PAINTING. SHE STICKS THE END OF THE
KNIFE INTO THE SIDE OF THE FRAME,
SEARCHINGFOR A CATCH.
258-01
SCENE42 - MCS- CATHERINETURNSAWAY
FROMTHE MAGRITTE PAINTING UPON
FINDING NO SECRETCATCH, AND LOOKS
BACK L OVER HER SHOULDER.
261-14
STUDY- MOMENTS
LATER- MCSCATHERINES HANDSLIDES ALONGTHE
UNDERSIDEOF CROWNSDESK AS CAMERA
CRANESDOWNAND PANS WITH IT TO
REVEAL A SMALL BUTTON. CATHERINE
FINDS THE BUTTONANDPRESSESIT.
268-10
SCENE44 - MCS- CATHERINE,LEANING
OVERTHE O.S. DESK, TURNSTO LOOKRFG
AT THEO.S. MAGRITTE
PAINTINGAS IT IS
HEARDSLIDING UP. CAMERACRANES UP
SLOWLY.
273-14
ROOM- DAY - FS - LOOKINGACROSSTHE
BUSY SQUADROOMTO CATHERINE AS SHE
ENTERSRBG WITH A PACKAGETHE SIZE OF
THE MONETPAINTING. SHE IS FOLLOWED
BY ONE OF THE CLEANINGMEN.
559
/274.0
275.12
1.12
560
276.2
278.2
2.0
CATHERINE
Excuse me.
THE MUSEUMDETECTIVE, WHOIS STANDING
L IN A DOORWAY,TURNSTO CATHERINEAS
SHE STRIDESPAST HIM WITH THE PAINTING.
MUSEUMDETECTIVE
Is that it?
CATHERINE
Wegot it.
CATHERINETO PEOPLE
IN SQUADROOM)
Excuse me.
(sometime later, Catherine, holding
brown-paper-wrapped
parcel the size
of the Monet, enters the squadroomo
the officers in the roomr~act)
DETECTIVETO CATHERINE, THEN
CATHERINETO DETECTIVE)
-That it?
-Wegot it.
(Thatit : i.e., Is that parcelthe
Monet)
(Wegot it : i.e., We found the
Monet)
(4AB- 171)
R/4ABPI9
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOFFING
LIST
CAMERAPANS L AND DOLLIES BACK WITH
CATHERINEAS SHE HURRIES THROUGHTHE
OFFICE. EVERYONETURNS TO LOOK AT
HER.
MUSEUMDETECTIVE
Shegot it!
561
278.8
280.0
1.8
DETECTIVE TO PEOPLEIN SQUAD

ROOM)
Shegot it!
(the people in the roomcheer and
applaud Catherine as she headsinto
an examination room)
562
/291.8
293.2
1.10
CATHERINE)
(calling out)
Is the expert here?
(expert : art expert)
CATHERINE
(overlapping)
Excuse me.
STANDING COP
Wow.
THE COPS AND DETECTIVES ALL BURST
INTO APPLAUSE.
(indistinct, jubilant chatter - continuesunder
CAMERACONTINUESDOLLYING BACK WITH
CATHERINEIN MCS, OFF THE OTHERSIN
THE SQUADROOM. CAMERATHEN PANS L
WITH HER TO REVEAL MCCANNSTANDING
OUTSIDEHIS OFFICE, WATCHING.CAMERA
HOLDSON MCCANNIN CS AS CATHERINE
TURNSAROUNDA CORNERAND EXITS R.
CLAPPING COP
(very low) Hey, wayto go, Cather-...
291-05
FLUOROSCOPE
LAB - DAY - MS - LOOKING
THROUGHTHE DOORWAY
TO CATHERINE AS
SHE WALKS DOWNTHE CROWDEDHALL
WITH THE PAINTING, PASSINGSEVERAL
APPLAUDINGCOPS. PARETTI IS TIPPED IN
LFG.
CLAPPING
COP(off)
...-ine!
CATHERINE
Is the expert here?
(4AB- 172)
R/4AB PIIO
TITLE
NO.
MASTER
PARETTI CROSSESR ACROSSTHE
DOORWAY
AND USHERSCATHERINE INTO
THE LAB.
PARETTI
(face off)
Readyand(on) waitin, darlin.
563
293.8
564
565
297.4
3.12
Readyand waiting. Lets see what you
got.
(got : found)
(there are two menwaiting in the room)
298.12 303.0
4.4
This is GeorgeFrench, headof forensics.
(forensics : division of the police
departmentwhichspecializes in the
scientific investigation of evidencefrom
a crime scene)
303.8 310.4
(over sceneend)
6.12
PARETTI TO CATHERINE,THEN TO
ART. INSPECTOR)
This is Dr. Corneliusof Manhattanville.
This is CatherineBanning.
(Manhattanville : Manhattanville
College,a private liberal arts collect
located 45 minutes from NewYork
City)
CATHERINE
Whoo!
PARETTI
Lets see whatyou got.
CATHERINE
Okay.
PARETTI ESCORTSCATHERINER ACROSS
THE ROOM, CAMERAPANNING WITH THEM
TO REVEAL SEVERAL FORENSICS
SPECIALISTS BUSY AT WORK. CATHERINE
STOPS AND SETS THE PACKAGEDOWNON A
TABLE IN THE MIDDLE OF THE ROOMAS
CAMERAHOLDSIN MS. PARETTI POINTS AT
ONE OF THE SPECIALISTS, A MANNAMED
GEORGEFRENCH, AS FRENCHCROSSES
LFG PAST THEM.
PARETTI
Look, uh, this is GeorgeFrench, headof
forensics.
CATHERINE
Hi, George.
FRENCH TURNS AROUNDTO GREET
CATHERINEAS PARETTI POINTS R TO AN
O.S. ART INSPECTOR.
GEORGE FRENCH
Hi.
Andthis is...
304-02
TIPPED IN LFG, TO PARETTIS TORSOAS HE
WALKS AROUNDHER, CAMERAFOLLOWING
HIM TO REVEAL THE ART INSPECTOR
SEATEDIN THE HALLWAY
IN BG.
PARETTI
(face off)
...Doctor Corneliusof Manhattanville. (to Art
Inspector) Comeon in, Doc.
(4AB- 173)
""
"THE THOMASCROWNAFFAIR" R/4AB Plll

COMBINED
TITLE
NO.
MASTER
LIST
THE ART INSPECTORSTANDSUP AND
WALKSINTO THE LAB AS CAMERACRANES
UP TO INCLUDE CATHERINES AND
PARETTIS FACES.
PARETTI
(face off) (contd)
This is (on) CatherineBanning.
ART INSPECTOR
(smacks lips) Howdo you do?
566
310.12
312.12 2.0
ART INSPECTORTO CATHERINE)

Howdo you do?
(polite phraseof greeting)
567
313.4
315.12 2.8
CATHERINETO ART INSPECTOR)

Well, go to work, Doctor.
(the Inspector starts to openup the
parcel - Catherinegoesinto the-hall,
whereMcCann
is standing - he glares
at her)
568
320.0
323.0
3.0
Dont glare at me,Michael.
569
325.0
332.8/
7.8
MCCANN
TO CATHERINE)
(sardonically)
So, are the laws of the United States
completely unknownto you?
(referring to the fact that Catherine
entered Crownstownhouse
illegally)
CATHERINE
Hello.
THE ART INSPECTORSTOPS TO SHAKE
CATHERINESHAND AS PARETTI CROSSESL
BEHINDHIM.
PEOPLE
IN POLICESTATION(off)
CATHERINE
(contd)
Well, go to work, Doctor.
CATHERINETURNSAND ExITs R AS THE ART
INSPECTORTURNSTO LOOK DOWNL AT
THE O.S. PAINTING WITH PARETTI. CAMERA
TILTS DOWNTO REVEAL THE MONET
PAINTING, NOWOUTSIDEOF ITS PACKING.
319-10
SCENE48 - MCS- CATHERINEPACESLFG
TOWARDO.S. MCCANN, CAMERAPANNING
WITH HERINTO CS.
CATHERINE
Dont glare at me,Michael.
CATHERINE STOPS AND TURNSHER BACK
TO MCCANNAS CAMERACONTINUES
PANNINGL SLIGHTLY TO REVEALHIM
STANDING IN THE DOORWAY.
MCCANN
So, are the laws of the United States completely
unknownto you?
332-10
(4AB- 174)

COMBINED
TITLE
NO.
MASTER
ENGLISH
SCENE49 - CS - LOOKINGAT THE SIDE OF

CATHERINESFACE, R, AS SHE GLANCES
BACK AT O.S. MCCANNAND SMIRKS. THE
ART INSPECTOR, GEORGEFRENCHAND
PARETTI ARE OUTOF FOCUSIN BG.
MCCANN
(off)
Or is it becauseyouve beenliving in fucking
570
333.14
337.14
4.0

CATHERINETO MCCANN)
-Or have you just beenliving in Morocco-Monaco.
(Morocco: note that this is
pronounced
similarly to Monaco)
571
338.4 344.4 6.0

(over scene end)
MCCANNTO CATHERINE)
I dont give a shit. Its illegal entry, theft,
trespassing.
(give a shit : vulgar slang for, care at
all)
(It : Whatyou did)
572
344.10
349.10/ 5.0
CATHERINETO MCCANN,THEN
MCCANNTO CATHERINE)
-Im not a cop.
-Exactly. Copsknowthis wont hold up.
(this : what youve done- howyou
obtainedthis painting)
(hold up : i.e., be validated by the
courts - prove to be legal o meaning
that anything Catherinediscoveredthis
day in Crowns apartmentwould not be
admitted as.evidencein a trial because
it wasillegally obtained)
573
350.14
354.0
3.2
Myjob is the painting.
(is : is to recover)
(the Art Inspector, whohas been
examiningthe painting under a
fluoroscope, calls to them)
574
354.8
358.8
4.0
ART INSPECTORTO
CATHERINE& MCCANN)
Youvegot a ghost here.
(a ghost: art term for a painting that
has beendoneon top of an already
existing painting)
(McCannsays something
questioningly)
Morocco or, uh, Mogambo.

CATHERINE
(overlapping)
Monaco.
MCCANN
(off)
I dont give a shit, o-...
339-14
SCENE 50-MCS-PAST THE BACK OF
CATHERINESHEAD, RFG, TO MCCANN.
MCCANN
...-kay? Itsillegalentry, theft, trespassing.
CATHERINE
Im notacop.
MCCANN
No, yourenotacop.
Causeifyouwereacop,
youd knowthat this wont hold up.

349-11
SCENE51- CS- LOOKINGAT THE SIDE OF
CATHERINESFACE, L, AS SHE GLANCES
BACK ATO.S. MCCANNAGAIN.THE ART
INSPECTOR, GEORGEFRENCHAND PARETTI
ARE OUTOF FOCUSIN BG.
MCCANN
(off)
Dont you wanthim to go up for-CATHERINE
(overlapping)
Myjob (whispering)is the painting.
ART INSPECTOR
Youve got a ghost here.
CAMERADOLLIES L, OFF CATHERINE,TO
MCCANNSFACE.
MCCANN
What?
(4AB- 175)

TITLE
NO.
MASTER
ENGLISH
CAMERARACKS FOCUS FROM MCCANNTO
THE ART INSPECTORAND PARETTI IN BG AS
THE INSPECTOR LOOKSUP FROMTHE
PAINTING AND TURNSTO MCCANN.
ART INSPECTOR
Another painting underneath.
575
361.12 365.8/
3.12
365-09
ART INSPECTORTO MCCANN)

Another painting underneath.
SCENE52 - MS - MCCANNSTEPS OUT FROM

BETWEENCATHERINEAND PARETTI AS HE
WALKSRFGTO LOOKAT THE O.S. PAINTING.
CATHERINE
Monetreused his (off) canvases.
576 367.0
370.8
3.8
CATHERINETO ART INSPECTOR)

Monetreused his canvases.
(McCanngoes to the fluoroscope and
peers through the viewscope,then
smirks)
577
379.4
383.4
4.0
MCCANN
Monets unknownmasterpiece...
(Monets : Underneaththis is
Monets)
578
384.0
387.8
3.8
MCCANN
..."Dogs at Cards.
(namefor a famouskitschy 1950S
painting of a groupof dogsplaying
poker that is widely copiedand sold
cheaplyat various discount
merchandiseoutlets)
(Catherine goes to the viewscopeand
looks throughit - beneaththe Monet
can be seen the Dogs at Cards
painting - she reacts furiously)
579
390.14 396.2/
(over sceneend)
5.4
CATHERINE)
(exclaiming)
VVhereis that sack of shit? Whereis he
right now?
(shit : vulgar slang for, feces)
(sackof shit : vulgar slang for, vile,
despicableperson o referring to
Crown)
CAMERAPANS WITH MCCANN,OFF

CATHERINEAND PARETTI, TO INCLUDE THE
ART INSPECTOR. HE BENDS DOWNTO LOOK
INTO A FLUOROSCOPE
POISED OVER THE
O.S. PAINTING, THENHE STANDSUP WITH A
SMIRK AS CAMERA
PANS L, OFF HIM, TO
CATHERINEAND PARETTI. CATHERINE
STEPS FORWARD,CAMERAPANNING WITH
HER TO AGAIN INCLUDE MCCANNAND THE
ART INSPECTOR.
MCCANN
(off)
Monets (on) unknownmasterpiece...
CATHERINEBENDSDOWNTO LOOK IN THE
FLUOROSCOPE
AS CAMERADOLLIES IN ON
HER.
383-12
SCENE53 - CS - CATHERINESPOVLOOKING THROUGHTHE FLUOROSCOPETO
THE PAINTING HIDDEN UNDERTHE MONET.
IT IS A 1950S HUMOROUS
PAINTING OF
DOGSSITTING AROUNDA TABLE PLAYING
POKER.
MCCANN
(off)
..."Dogs at Cards".
388-05
SCENE54 - ECS - CATHERINESEYESLOOK
UP FROM THE FLUOROSCOPE
IN SUDDEN
ANGER.
CATHERINE
VVhereis that sackof sh-...
392-09
(4AB- 176)
"THE THOMASCROWN
AFFAIR"
I~4AB P114
COMBINED
TITLE
NO.
MASTER
ENGLISH
SUBTITLF./SPOIFINGLIST
SCENE55 - MCS- CATHERINELOOKSBACK

OVERHER SHOULDERAT PARETTI AND THE
ART INSPECTOR,WHOARE STANDINGIN BG.
CATHERINE
...-it? Whereis he right now?
396-05
SCENE56 - INT. BALLROOM
- NIGHT- MCSCAMERAPULLS BACK FROM AN ORCHESTRA
TO REVEALCHARITY BALL GUESTSIN BLACK
TIE AND EVENING GOWNSDANCING ON THE
DANCEFLOOR.
PEOPLEIN BALLROOM
(very low and indistinct chatter - continuesunder
CAMERACONTINUESPULLING BACK OVER
ALL THE DANCINGCOUPLESTO REVEAL
CROWNDANCINGWITH A BEAUTIFUL
BLONDE NAMEDANNA.
CROWN
(low andindistinct to:) Lets just dance.(hums
continues under following scene)
A BLACK-GLOVEDHAND ENTERS RFG AND
TAPS ANNA ON THE SHOULDER. ANNA
STOPS DANCINGAND STARTS TO TURN
AROUND.
451-07
SCENE57 - MS - PAST CROWN
TO ANNAAS
SHE TURNSTO LOOK BACK, CAMERA
PANNINGR WITH HER TO REVEAL
CATHERINESTANDINGBEHIND HER IN RBG.
ANNA
Excuse me?
580
453.10
455.14 2.4
ANNATO CATHERINE)
Excuse me?
(note that Crownis at a formal charity
ball, dancingwith a beautiful modeltype namedAnna- everyoneattending
the ball is wearingblack andwhite Catherine, wearing a see-throughblack
gownwith a red shawl, taps on Annas
shoulder)
581
456.6
457.141 1.8
CATHERINETO ANNA)
Im cutting in.
(cutting in : interrupting your danceto
take your place with your partner)
(Anna frowns)
CATHERINE
Im cutting in.
457-15
(4AB- 177)
R/4AB PI15
COMBINED
TITLE
NO.
MASTER
AND ANNALOOK
RFG AT O.S. CATHERINEAND PAUSEFORA
MOMENT,THEN CROWNSMILES.
CROWN
(sighs) Hm.Its all right, Anna.
582
463.10 465.10
(over sceneend)
2.0
CROWNTO ANNA)
Its okay, Anna.
583
466.6
2.0
CROWNTO ANNA)
Ill seeyoulater.
(still frowning,Annaexits)
CROWNTURNSTO GIVE ANNA A PECK ON

THE CHEEK.
464-13
SCENE59 - MS - PAST CROWN
AND ANNA,
LFG, TO CATHERINESTANDINGBEHIND
ANNA AS CROWNPECKS ANNA ON THE
CHEEKAND SPEAKSQUIETLY TO HER.
CROWN
(kissing sound)Ill
seeyou later.
468.6/
468-06
AND ANNABOTH
LOOK RFG AT O.S. CATHERINE,THEN ANNA
STARTS TO WALK AWAY.
473-11
SCENE61 - MFSo ANNAWALKSAWAY,
EXITING RFG, AS CAMERA
DOLLIES IN ON
CROWNAND CATHERINE STANDING A FEW
FEET FROM EACH OTHER. CROWNGLANCES
AROUNDAT THE OTHERCOUPLES, ALL
DRESSEDIN BLACK AND WHITE, THEN NODS
TOWARDA RED SHAWLTHAT CATHERINEIS
WEARING.
CROWN
(clears throat) Its a black andwhite ball.
584 479.4
482.0
2.12
CROWNTO CATHERINE)
Its a black andwhite ball.
(black and white ball : formal dancein
which persons attending must wear
black, white or a combinationof black
andwhite)
(Catherine looks at her red shawl)
2.0
CATHERINE TO CROWN)
Im sorry.
CAMERACRANESUP AND DOLLIES L BEHIND

CROWN
TO HOLDSIN A HIGH ANGLEPAST
CROWNTO CATHERINE.
CATHERINE
Oh, sorry...I wasnt invited anyway.
488-03 585 483.4
SCENE62 - MCS- PAST CATHERINE,RFG, TO
CROWNAS HE HOLDSOUT HIS ARMSTO
DANCEWITH HER. SHE STEPS TOWARDHIM.
491-09
586
486.2
485.4
488.2/
2.0
CATHERINE TO CROWN)
I wasnt invited anyway.
(they start to dance)
(4AB- 178)
R/4AB P116
TITLE
NO.
LIST
SCENE63 - MS - HIGH ANGLE- CAMERA

SWOOPSDOWN TOWARD CROWNAND
CATHERINEAS THEY TAKE EACH OTHERS
HANDSAND START TO DANCE.
CATHERINE
Youleft yourself wide open.
587
492.10 495.0
2.6
588
495.6
497.0
1.10
CROWNTO CATHERINE)
Youre flushed.
(flushed : reddenedor blushing out of
excitement,agitation, etc.)
589
497.6
502.6
5.0
CATHERINE TO CROWN)
Howmanypeople can forge a Monet?
Five? Six?
(meaning
that it will be easyto find out
whoCrownhired to paint the fake
Monet)
590
502.14
3.8
CROWNTO CATHERINE)
I cant be arrestedfor a joke.
(for a joke : for playing a joke on you)
591
506.12 509.8
2.12
CATHERINE TO CROWN)
This wasa little too good.
(This : This joke o referring to his
leaving a forged Monetfor her to find)
592
509.14 512.8
(over sceneend)
2.10
CROWNTO CATHERINE)
Youthink youre inches away.
(inches away: i.e., extremely close
to catching me[as the thief of the
Monetpainting])
593
514.0
5.6
CATHERINE TO CROWN)
I aminches away.Youthink Ill just peck
crumbsyou lay out?
(peck : eat by picking up with the bill
[as a bird eats])
(peck crumbs you lay out : metaphor
for, gladly acceptclues you deignto
leave me)
(implying that Catherineis supposedto
be content with finding Crownswry
clues, suchas the forged painting)
CAMERAHOLDS ON CROWNAND CATHERINE

IN MCSAS THEY DANCE, SLOWLYSPINNING
AROUND. CAMERACIRCLES R AROUND
THEM.
CROWN
Mm,youre all flushed.
CATHERINE
Howmanypeople can forge a Monet? Five?
Maybesix?
CROWN
Come
now, Im sure I cant be arrested for a
joke.
CAMERASTOPS CIRCLING AND MOVESIN ON
CROWNAND CATHERINE AS THEY STOP
SPINNING ANDDANCEIN PLACE.
CATHERINE
Oh,but this wasa little
506.6
too good.
CROWN
Youthink youre just inchesaw-...
CROWNSTARTS TO PUSH CATHERINE AWAY.
511-04
SCENE64 - MFS- HIGH ANGLE- CROWN
PUSHESCATHERINE AWAYTHEN PULLS HER
BACK AS CAMERA SWOOPSDOWNTOWARD
THEM.
CROWN
._
CATHERINE SPINS CROWN AROUND AND
CLUTCHES HIM TIGHTLY FROM BEHIND AS
THEY CONTINUE TO DANCE. CAMERA
HOLDSIN MCS.
CATHERINE
I aminches away. Youthink Im just gonnapeck
up crumbsyou lay out?
519-08
519.6/
CATHERINE TO CROWN)
Youleft yourself wide open.
(wide open: i.e., completely opento
attack, investigation,arrest, etc.)
(meaningthat it will be very easyto
trap Crownnow, since she will be able
to find out whohe hired to paint the
copy of the Monet)
(4AB- 179)
~rHE THOMASCROWNAFFAIR" R/4AB P117

COMBINED
TITLE
NO.
MASTER
LIST
SMIRKSAS
CATHERINESPEAKSDIRECTLYIN HIS EAR.
CATHERINE
I can smell blood on myown.
594
/519.12 522.10/ 2.14
CATHERINE TO CROWN)
I can smell blood on myown.
(smell blood : colloquial for, senseor
perceive someone
in serious trouble or
danger)
595
526.2
CATHERINE TO CROWN)
You smugson of a-(son of a-- : note that Catherinestops
beforesayingbitch, as in son of a
bitch, colloquial for, contemptible
man)
(a sambastarts playing and they
danceto it - Catherinemoves
provocatively in her see-through
dress - finally, Crownpulls her to him)
CATHERINESTARTS TO SPIN CROWN

AROUND.
CROWN
522-14
SCENE66 ; MCS- PAST CROWN
TO
CATHERINEAS SHE SPINS HIM AROUND,
THEN HE SPINS HER AROUND.
CATHERINE
YOUsmugson of a-528-03
SCENE67 - INT. BALLROOM
- LATER- MCSA MUSICIANS HANDSPOUNDBONGO
DRUMS, THEN CAMERAQUICKLY PANS AND
TILTS UP TO REVEAL THE SAXOPHONE
SECTION STANDINGUP TO PLAY A MAMBO.
536-12
528.2/
2.0

CATHERINE AS THEY MAMBO. CROWN
CROSSESL, THEN CATHERINEDIPS HER
HEAD DOWN.
542-14
SCENE69 - MCS- PAST CROWNSTORSO,
LFG, TO CATHERINESTORSOAS SHE PULLS
UP HER DRESSA BIT. CAMERATILTS UP
WITH CROWNSHAND TO CATHERINES
FACE, THEN TILTS BACK DOWNTO HER
TORSOAS SHE SPINS AROUNDTO BRIEFLY
REVEAL HER BUTTOCKSTHROUGHTHE
SHEERMATERIAL.
555-02
CATHERINEAS SHE TURNSHER BACK TO
HIM AND RESTSAGAINST HIS ARM.
560-08
(4AB- 180)
R/4,~B PI18
COMBINED
TITLE
NO.
LIST
SCENE71 - MCS- CATHERINERUBSHER

SHAWLAGAINST HER BUTTOCKS, THEN
TURNS FORWARDAND STEPS R, CAMERA
PANNINGWITH HER TO INCLUDE CROWNS
TORSO, RFG.
567-12
CATHERINESTARING AT HIM AS SHE
DANCES.
571-00
SCENE73 - MCS- CAMERASWISH PANSR
FROMCATHERINETO CROWN,THEN PANS L
WITH HIM TO INCLUDE HER AGAIN AS HE
TAKES A STEP TOWARDHER AND SPINS HER
AROUND.
576-06
,SCENE 74 - MCS- CROWN
SPINS CATHERINE
LFG AWAYFROMHIM, PULLING ON HER
SHAWL, AS CAMERATILTS DOWNFROMHER
FACE TO HER TORSO.
578-13
LIFTS
CATHERINESSHAWLUP IN THE AIR AND
TOSSESIT BEHINDHIM.
582-04.
CATHERINEAS SHE TURNSTO FACE HIM
AND MOVESINTO HIS ARMS, CAMERA
PANNINGR WITH HER.
587-08
TURNSHIS BACK
TO CATHERINEAND GRINS AS HE DANCES.
592-00
DOLLIESIN
ALONG THE ROWOF SAXOPHONESTO HOLD
ON THE BONGODRUMS.
596-03
SCENE79 - MCSo CATHERINESLOWLY
TURNSTO LOOK OVER HER SHOULDERAT
CROWN,WHOIS OUT OF FOCUSIN BG. HE
BECKONSTO HER, AND SHE SHIMMIES BACK
TOWARDHIM.
607-03
(4AB- 181)
R/4ABPI19
: TITLE
NO.
MASTER
SCENE80 - MS - LOOKINGDOWNPAST
CROWN,LFG, TO CATHERINESBACKSIDEAS
SHE MOVESTOWARDHIM. CAMERATILTS
DOWNTO HER SWAYING BUTTOCKS.
610-11
SCENE81 - MCS- CATHERINESWISHESHER
HEADBACK AND FORTH.
612-08
LFG, TO CATHERINES BODYAS CAMERA
TILTS UP HER LEGS AND TORSOTO HER
FACE. SHE PRESSESBACK AGAINST HIM.
621-07
LFG, TO CATHERINES TORSOAS CROWN
RUNSHIS HANDUP HER SIDE.
624-04
SCENE84 - MS - CATHERINEDANCES
PRESSEDBACK AGAINST CROWN.HE LIFTS
HIS ARMSUP INTO THE AIR WITH A
FLOURISH.
626-11
SCENE86 - CS - PAST CROWN,LFG0 TO THE
BACK OF CATHERINESHEADAS SHE SLIDES
DOWNALONGHIS BODY, CAMERATILTING
DOWNWITH HER.
630-14
SCENE86 - MCS- CATHERINEBUNCHESUP
HER HAIR AND RISES UP INTO A STANDING
POSITION AGAIN, CAMERA
TILTING UP WITH
HER. SHE THEN LETS GO OF HER HAIR AND
CROWNSPINS HER AROUNDTO FACE HIM
AS CAMERAMOVESIN ON THEMINTO CS.
CROWN
Enou-...
637-11
CROWN
AS HE FINISHES SPINNING HER
AROUNDAND STARESINTO HER EYES.
CROWN
...-gh. Do you wannadance...or do you wanna
596
636.10 638.6
(over sceneend)
1.12
CROWNTO CATHERINE)
Enough.
597
641.14
644.6
2.8
CROWNTO CATHERINE)
Do you want to dance...
(dance: here, literally referring to
dancingat the ball)
598
645.10
648.10/
3.b
CROWNTO CATHERINE)
...or do you wantto dance?
(dance : here, presumably
euphemism
for, have sex)
(they kiss, then a short while later,
return to Crowns townhouseand have
sex repeatedly - at somepoint,
Catherine, nude, sits on Crownsdesk
in his den- Crown,on the floor, grabs
at her feet)
dance?
648-12
(4AB- 182)
"THE THOMAS
CROWN
AFFAIR"
R/4AB PI20
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLF.JSPOITINGLIST

CATHERINEIN HIS ARMS. SHE STARESAT
HIM ANDSLOVVI._Y PUTSHERHANDBEHIND
HIS NECK, THEN MOVESFORWARDSLOWLY
TO KISS HIM. CAMERARISES UP HIGH
ABOVETHEMAND SPINS AROUNDAS THEIR
KISS BECOMES
PASSIONATE.
CROWN& CATHERINE
(kissing sounds)
681-02
DISSOLVETO:
FOYER- LATER- FS - HIGH ANGLELOOKING STRAIGHT DOWNAT THE FLOOR
AS CAMERASPINS AROUND. CATHERINE
ENTERSFRAME, REMOVINGHER GLOVES,
AND DROPSTHEM ON THE FLOOR.
688-08
SCENE80 - MCS- LOOKINGBETWEEN
CATHERINESLEGS AS SHE SLIPS OUT OF
HER LEFT SHOE. HER DRESSTHEN FALLS
DOWNAROUNDHER LEGS AS CAMERA
RACKS FOCUS TO REVEAL CROWN
APPROACHING
HER IN BG. HE REMOVESHIS
JACKET AND DROPSIT, THEN CAMERA
RACKSFOCUSTO CATHERINES LEG AGAIN
AS SHE PULLSHER RIGHTFOOT(STILL IN
ITS SHOE) OUTOF HERDRESS.
SINGERS
(voice over)
(sing in foreign language- continues under
following scenes)
707-13
DISSOLVETO:
FOYER- LATER - MCS- PAST CROWN
TO
CATHERINEAS THEY KISS. CATHERINE
REMOVESCROWNSBOWTIE AND SHIRT
AND THEY START TO MAKE LOVE STANDING
UP.
718-08
(4AB- 183)

COMBINED
TITLE
NO.
MASTER
LIST
DISSOLVETO:
AND CATHERINE
TURN AROUNDAS THEY MAKE LOVE
STANDINGUP. HE MOVESHER BACK R
ACROSSTHE ROOM, CAMERAPANNING WITH
THEM.
732-08
DISSOLVETO:
STRAIGHT DOWNAT THE STAIRCASE AND
FOYERAS A SERIES OF DISSOLVESSHOW
CROWNAND CATHERINEMAKING LOVE IN
VARIOUS PLACES AND POSITIONS. THEY
END UP AT THE TOP OF THE STAIRS.
745-08
DISSOLVETO:
SCENE94 ~ MS - CAMERATILTS DOWNFROM
A PAINTING ON THE WALL TO REVEAL
CROWNAND CATHERINE MAKING LOVE AT
THE TOP OF THE STAIRS. CAMERA
CONTINUESTILTING DOWNPAST THEM.
757-00
DISSOLVETO:
DOLLIES IN PAST
THE BREASTSON THE NAKEDSTATUE AND
TILTS UP TO REVEAL CROWN
AND
CATHERINEMAKING LOVE ATOP THE
STAIRS.
FEMALESINGER(voice over)
(sings - continues under following scenesand
dialogue)
CAMERACONTINUESTILTING UP PAST
CROWNAND CATHERINE TO REVEAL
ANOTHERPAINTING ON THE WALL. THE
PAINTING SHOWSA WOMANRIDING IN THE
PROWOF A BOAT AS A MANSTANDSIN THE
STERN.STARINGAT HER.
CATHERINE
(laughs - continues under following scene)
780-07
(4AB- 184)

TITLE
NO.
LIST
DISSOLVETO:
STUDY- LATER- MCS- LOOKINGAT
CATHERINESNAKEDBACK AS SHE RIDES UP
AND DOWNIN FRONTOF CROWNSCHAIR,
LAUGHINGHYSTERICALLY. SHE TURNSTO
FACE FORWARD,REVEALING HER NAKED
FRONT COVEREDWITH SWEAT, THEN SHE
SITS DOWNIN THE CHAIR.
CATHERINE
(laughing)Get...
599
792.6 795.6 3.0

(over sceneend)
CATHERINE
TO CROWN)(laughing)
Get away! Get away!
600
799.6
804.21
4.12
CROWNTO CATHERINE)
You are the most remarkable woman.
(indirectly referring to her incredible
sexual stamina)
601
806.4
808.01
1.12
CATHERINE TOCROWN)
Werenot finished.
(finished : finished having sex)
792-11
CATHERINES TORSO, RFG, TO CROWNON
HIS HANDSAND KNEES ON THE FLOORIN
FRONTOF HER. HE IS EXHAUSTED.
CATHERINE
(face off)
(laughing) ...away, get away!
CROWN
Oh. You are the most remarkable woman.
CATHERINE
(giggles)
804-03
SCENE98 - MCSo CATHERINEHOLDSUP A
BOTTLE OF TEQUILA AND STARTSTO POUR
IT ON O.S. CROWN.
CATHERINE
Mmm.Youdont think were finished, do you?
808-01
CATHERINE, RFG, TO CROWN
ON HIS HANDS
AND KNEESAS TEQUILA POURSON HIS
HEAD.
CATHERINE
(laughs)
SINGERS
(voice over) (overlapping)
(sing in foreign language- continues under
(4AB- 185)

TITLE
NO.
MASTER
CROWNLOOKSUP AT CATHERINE, THEN
STARTSTO LUNGEAT HER.
CATHERINE
(shrieks - continues underfollowing scene)
813-12
STANDSUP INTO
FRAMEAND LIFTS CATHERINEUP OVERHIS
SHOULDERS,
THE TEQUILA BOTTLESTILL IN
HER HAND. HE CARRIES HER BG ACROSS
THE ROOMAS SHE SLAPS HIS SWEATY
BACK.
CATHERINE
(giggles)
821-12
LAYS CATHERINE
DOWNON THE DESK, SHOVINGPILES OF
BOOKSASIDE, AS CAMERA
DOLLIES IN ON
HER FACE. HE THEN LIES ON TOP OF HER
AND STARTSMAKING LOVE AGAIN.
CATHERINE
(pants)
CATHERINE & CROWN
(kissing sounds)
831-00
SCENE102 - MS - SLOWMOTION- LOOKING
UNDERTHE DESK TO CATHERINES HEAD
AND ARMSAS THEY SLOWLYSLIDE DOWN
OVERTHE EDGE.
CATHERINE
(chuckles)
CATHERINELANDS ON THE FLOORWITH
HERLEGS STILL UP ON THE DESKAS
CROWNSLIDES DOWNON TOP OF HER.
CATHERINE
(contd).
(sighs - continues underfollowing sceneand
dialogue)
FEMALESINGER(voice over)
(sings - continues under following scenesand
dialogue)
844-06
(4AB- 186)
RJ4ABPI24
TITLE
NO.
MASTER
LIST
SCENE103 - MCS- LOOKINGAT THE BACKS

OF CROWNSAND CATHERINES LEGS
POKINGUP FROMTHE ,FLOOR TO THE DESK.
853-00
DISSOLVETO:
SCENE104 - MS - CAMERACRANESUP PAST
THE EDGEOF THE DESK TO REVEAL
CROWNSAND CATHERINES FEET POKING
UP OVERTHE OPPOSITESIDE. CATHERINE
SLIDES HER FEET DOWNOUT OF VIEW.
866-08
BREAKFASTROOM- MORNING- MCS - PAUL
COMESUP TO THE TOP OF A SPIRAL
STAIRCASE AS CAMERATILTS DOWNTO
REVEALA TRAYHE IS CARRYING.IT HAS A
PLATE OF EGGSAND TOAST, AND A GLASS
OF GREENHEALTH DRINK. CAMERAPANS R
WITH THE TRAYAS PAUL CARRIESIT
ACROSSTHE ROOM, REVEALING CROWN
AND CATHERINE READING NEWSPAPERS
AT
THE BREAKFASTTABLE.
CATHERINE
Goodmorning.
602
876.10 878.2
(over sceneend)
1.8
CATHERINETO PAUL)
Goodmorning.
(note that it is the next morning
Catherine and Crown,in robes, are
sitting out in Crownsbreakfast roomPaularrives with a tray of fruit for
Crownand the strange greendrink for
Catherine)
603
878.10 880.6
1.12
CROWNTO PAUL)
Morning,Paul.
(Paulsets the drink in front of
Catherine- shestares at it in surprise)
604
880.14 884.10
3.12
PAUL TO CROWN,THEN
CROWNTO PAUL)
-Can I get you anything else?
-Not a thing.
CAMERAHOLDSIN MS AS PAUL STARTS TO

SERVE CATHERINEHER HEALTHDRINK.
877-10
SCENE106 - MCS- PASTPAUL, TIPPED IN
RFG, TO CATHERINEAS SHE WATCHESHIM
SET THE HEALTH DRINK DOWNIN FRONTOF
HER AND REACTSWITH SURPRISE.
PAUL(face off)
Goodmorning.
CROWN
(off)
Goodmorning, Paul.
PAUL SERVESO.S. CROWN
HIS EGGSAND
TOAST.
PAUL
CanI get you anything else?
CROWN
(off)
Nota thing.
885-01
(4AB- 187)

TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOrrlNG LIST
SCENE107 - MS - CROWNLOOKSDOWN
FROMHIS NEWSPAPER
AT HIS BREAKFAST,
THENGLANCESUP RFGAT O.S. PAUL.
CROWN
Mm.Thank you, Paul.
605
886.10 890.2
3.8
CROWNTO PAUL, THEN

CATHERINETO PAUL)
-Thankyou, Paul.
-Yes, thank you.
(Paul exits - Catherineeyesthe, drink)
606
891.6 894.141
(over sceneend)
3.8
CATHERINE TO CROWN)
I suppose
you didnt just run out for that.
(run out for that : .i.e., hurriedly send
Paulout to get that drink)
(meaningthat Crownalready had the
ingredientsfor the health drink in his
home)
607
897.6
1.0
CROWNTO CATHERINE)
No.
608
902.10 906.10 4.0

(over sceneend)
CATHERINE
(off) (overlapping)
Mmm,thank you, Paul.
O.S. PAUL LEAVESTHE ROOM.
CATHERINE
(off) (contd)
(to Crown)Well, I supposey-...
892-05
CATHERINE. PAUL EXITS DOWNA SPIRAL
STAIRCASEIN BG.
CATHERINE
...-oudidntjustrunout~rthat..
894-15
SCENE109- MS-CROWNLOOKSRFG PAST
HIS NEWSPAPER
AT O.S. CATHERINEAND
PAUSESA MOMENT,THEN SHAKESHIS HEAD
AND GOESBACK TO READINGHIS PAPER.
CROWN
Mm...no.
898.6/
898-06
SCENE110 - MCS- CATHERINELOOKSLFG
AT O.S. CROWN
ANDGRINS.
CATHERINE
No.
CATHERINE LOOKS DOWNAT HER
NEWSPAPER
AGAIN, SHAKING HER HEAD.
CATHERINE
(contd)
Damn,I hate being a foregoneconclu-...
905-06
READSHIS
NEWSPAPER.
CATHERINE
(off)
...-sion.
CATHERINE TO CROWN)
Damn.I hate being a foregone conclusion.
(foregone conclusion : certaintyinevitable result)
(meaningthat Crownhad the health
drink ingredients ready becausehe
already knewthat Catherine would be
spendingthe night with him)
CROWNTURNSTO LOOK RFG AT O.S.

CATHERINE.
910-04
(4AB- 188)
~4AB P126
i TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOirlNGLIST
SCENE112 - CS - CATHERINERAISES HER

EYES FROMHER PAPER TO SMILE LFG AT
O.S. CROWN.
CATHERINE
(chucklessoftly)
CATHERINEGOESBACK TO READING.
915-05
LOOKSRFG OVER
HIS PAPERAT O.S. CATHERINE,THENFOLDS
HIS PAPERANDLOOKSDOWNAT HIS O.S.
BREAKFAST.
920-02
SCENE114 - MCS- CATHERINESTIRS HER
O.S. DRINK ANDLOOKSLFG AT O.S. CROWN.
CROWN
(off)
(sighs)
CATHERINE
(overlapping)
Youlive very well.
609
926.4
928.2/
610
929.4
611
932.14
612
935.10 940.41
(over sceneend)
1.14
CATHERINE TO CROWN)
Youlive very well..
2.0
CROWNTO CATHERINE)
Thankyou.
CATHERINETAKES A STRAWBERRY
OUT OF
HER DRINK AND MUNCHES
ON IT.
928-03
GLANCESUP RFG
AT O.S. CATHERINE
AS HE CUTSHIS O.S.
EGGS.
CROWN
Thankyou.
931.4/
CATHERINE
(off)
Mm-hm.
931-07
935.6
2.8

CATHERINEAS SHE PICKS UP HER DRINK.
CATHERINE
(chewing)Itd be a shame
to lose it all.
CROWN
Well, that depends
on a very...
937-03
4.10
CATHERINE TO CROWN)
Bea shame
to lose it all.
(lose it all : i.e., lose all of your
material assetsandthe lifestyle that
results from suchwealth)
(implying that, if she catcheshim with
the Monet, he will be arrested andgo
to jail andlose his elegantlifestyle)
CROWNTO CATHERINE)
That dependson a very large presumption.
(That : That conclusion [that I would
lose mylifestyle])
(note that the presumption would be
that of Catherine,s catching Crownas
the thief)
(4AB- 189)
R/4ABPI27
TITLE:
NO.
LIST
STARESRFG AT
O.S. CATHERINEWHILE RAISING A FORKFUL
OF EGGTO HIS MOUTH.
CROWN
...large presumption.
940-05
CATHERINESTARING AT HIM OVERHER
DRINK.
CATHERINE
(smackslips) Yes, it does.
613 940.14
942.14/ 2.0
CATHERINE TO CROWN)
Yes,it does.
614
945.10
948.61
2.12
CATHERINE TO CROWN)
I wont backoff, you know.
(back off : colloquial for, withdraw
from a commitment
or position - here,
referring to her commitment
of
regaining the Monetand catching
Crown)
615
949.14
952,0/
2.2
CATHERINE TO CROWN)
Not evenfor a minute.
616
954.10
958.10
4.0
CROWNTO CATHERINE)
I wouldbe hugelydisappointedif you did.
942-15
GLANCESRFG AT
O.S. CATHERINEWHILE EATING.
CATHERINE
(off)
I wont back off, you know.
948-07
SCENE120 - MCS- CATHERINELEANSLFG
TOWARDO.S. CROWN.
CATHERINE
Noteven ~ra minute.
952-01
DOLLIESIN ON
CROWNAS HE RAISES A PIECE OF TOMATO
TO HIS MOUTHAND LOOKSRFG AT O.S.
CATHERINE.
CROWN
Id be hugelydisappointedif you did.
CROWNPOPS THE TOMATOIN HIS MOUTH
ANDCHEWS
IT.
~
CROWN
(voice over)
Howdo porcupines mate?
962-05
617 960.2
ITAL
962.41 2.2
CROWN
Howdo porcupines mate?
(note that Crownis nowmeetingwith
his Psychiatrist)
(4AB- 190)

TITLE
NO.
MASTER

OFFICEDAY- MCS- THEPSYCHI~,TRIST,SITTING AT
HER DESK, LOOKSRFG AT O.S. CROWN.
PSYCHIATRIST
Old joke. Very carefully.
618
963.2
965.14
2.12
Old joke. Very carefully.
(i.e., Thats an old joke. Theresponse
is, "Verycarefully". - notethat the
punchlineof the joke refers to the fact
that porcupinesare coveredwith spiny
bristles, andtherefore matingcould
producegreat discomfort unless done
very carefully)
(note that Crownhas brought up this
joke as a metaphorfor his hesitation
about getting involved with Catherine,
whois as difficult a personas Crown
is)
619
966.6
968.4
1.14
Carefully.
620
/968.14 970.14/ 2.0
Or unsuccessfully.
621
971.10 974.6
2.12
Dont see manyporcupines.
(Dont see : i.e., Onedoesnt see)
(meaningthat there are very few
porcupinesbecauseof the difficulty
they havein mating)
622
974.12
4.4
Creatures with highly evolved defense
systems.
623
979.6 981.2
(over sceneend)
1.12
Porcupines?
624
981.10 988.2
6.8
(over sceneends)
CROWN
(off)
Carefully. O-...
968-12
SCENE123 - MCS- CROWN,SITTING IN AN
EASYCHAIR, LOOKSLFG AT THE O.S.
PSYCHIATRIST.
CROWN
.o-r unsuccessfully.
970-15
LOOKSRFG AT O.S. CROWN.
CROWN
(off)
Dont see manyporcupines
PSYCHIATRIST
Creatures with highly evolved defensesystems.
CROWN
(off)
Like...
979-10
LOOKSLFG AT
THE O.S. PSYCHIATRIST.
979.0
CROWN
...porcupines?
PSYCHIATRIST
(off)
Likeforty-...
982-09
SCENE126 - CS - THE PSYCHIATRISTLOOKS
RFGAT O.S. CROWN.
PSYCHIATRIST
...two-year-old, successful,self-involvedIo-~..
986-07
Forty-two-year-old,successful, selfinvolved loners
(loners : persons whoavoid the
companyof others)
(meaningthat the Psychiatrist has
beendescribing Crown, not
porcupines)
(4AB- 191)
R/4AB PI29
TITLE
NO.
MASTER

TURNSAWAY
FROMTHE O.S.-PSYCHIATR!ST, SMIRKING.
PSYCHIATRIST
(off)
...-hers.
CROWNLEANS HIS HEADBACK.
991-06
SCENE128 - CS - THE PSYCHIATRISTLOOKS
RFGAT O.S. CROWN.
PSYCHIATRIST
If youve founda femalemirror imageandthi-...
95-00
625
/991.10 998.10
(over sceneend)
626
998.14
7.0

LEANS HIS HEAD
FORWARD
TO LOOKLFG AT THE O.S.
PSYCHIATRISTAGAIN.
If you found a female mirror imageand
think youll havea rewardingrelationship-(a femalemirror image: i.e., a
woman
whois identical to you in
personality andcharacter)
PSYCHIATRIST
(off)
...-nk youre going to form a rewarding
(chuckling) relationship-CROWN
Think again?
1001-01
STARESRFG AT O.S. CROWN,SAYING
NOTHING.
1003-02
1000.14/ 2.0
Think again?
(i.e., 1 shouldreconsiderthat
conclusion? - meaningthat the
Psychiatrist is implying sucha
relationship is not goingto happen)

MCCANNSOFFICE - DAY- MCCANNSHANDS
SORT THROUGHA STACK OF PHOTOGRAPHS
OF CROWNAND CATHERINE DANCING AT
THE CHARITYBALL.
PEOPLEAT POLICESTATION(off)
1012-00
(4AB- 192)
R/4ABPI30
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOTrlNG
LIST
SCENE132 - MCS- PAST MCCANNSHEAD,

RFG, TO PARETTrS HANDSGOING THROUGH
ANOTHERSTACK OF PHOTOS. CAMERA
TILTS UP TO PARETTrSFACE AS HE LOOKS
UP TO SEE O.S. CATHERINEENTERTHE
OFFICE.
CATHERINE
(off)
Goodmorning.
627
1017.2
1019.2
2.0
CATHERINETO PARETTI & MCCANN)

Goodmorning.
(note that Paretti and McCann
are
looking at surveillance photosof
Catherine dancing with Crownin the
see-through dress whenshe enters)
628
1022,2
1024.6
2.4
MCCANNTO CATHERINE)
Nice dress.
(implying that he disapprovesof the
dress)
1034.4/ .2.6
PARETTITO CATHERINE)
(wryly)
Lookslike it wasa great party.
(it : the ball)
(Paretti exits - McCann
stares at his
desk, angry)
1019-10
SCENE133 - MS - PAST PARETTIS TORSO,
RFG, TO MCCANNSEATEDWITH HIS BACK
TO HIS DESK, AS THEY BOTHTURNTO LOOK
AT CATHERINE,WHOIS STANDINGIN THE
DOORWAY
IN LBG.
MCCANN
Nice dress.
PARETTI CROSSESL PAST MCCANNAND
STAR[S TO APPROACH
CATHERINE.
PARETTI
(face off)
(chuckles)
1029-04
SCENE134 - MS - PARETTI WALKSLFG
ACROSSTHE OFFICE, CAMERAPANNING
WITH HIM TO INCLUDE CATHERINE. HE
STOPSAND SPEAKSQUIETLY TO HER AS
CAMERAHOLDSON THEM IN CS.
PARETTI
Lookslike it wasa great party.
629 1031.14
1034-05
SCENE135 - MFS - PAST MCCANN

AT HIS
DESKTO PARETTI AND CATHERINEIN THE
DOORWAY
IN BG.
CATHERINE
Mm-hm.
PARETTI
(chuckles)
PARETTIHANDS THE PHOTOSTO
CATHERINEAND EXITS THE OFFICE. SHE
WALKS UP TO MCCANNS DESK AS CAMERA
DOLLIESIN PAST MCCANN.
(4AB- 193)

COMBINED
TITLE
NO.
MASTER
ENGLISH
CATHERINE
You gonnabe...
630
1041.10 1044.10 3.0

(over sceneend)
Yougoing to be a cliche?
(implying that McCannsdisapproval of
her behavioris a cliched reaction)
631
1047.6
1049.6/ 2.0
MCCANNTO CATHERINE)
Did you even think twice?
(think twice : colloquial for, reflect or.
considerbefore taking action)
(here, inquiring as to whether
Catherine gave any thought
whatsoeverto having sex with Crown)
632
1050.4
1052.0 1.12
No.
633
1052.6 1054.14 2.8

(over sceneend)
MCCANNTO CATHERINE)
You knew what you were doing?
634
1055.6
1060.i4/ 5.8
Myjob. He likes me. Hell keepliking me.
(He : Crown)
635
/1061.6
1063.142.8
636
1064.4 1067.4 3.0

(over Sceneend)
CATHERINE TOSSES THE PHOTOSDOWNON

THE DESK.
1042-10
SCENE136 - MS - CAMERACRANESDOWN
AND DOLLIES IN ACROSSTHE DESK TOWARD
MCCANNAS CATHERINES HANDFINISHES
TOSSING DOWNTHE PHOTOSIN LFG.
CATHERINE
(face off)
...a clich6?
MCCANN
Did you even think twice?
1049-07
SCENE137 - MFS
PAST MCCANN,
RFG, TO
CATHERINEAS SHE WALKSOVER TO HER
OWNSMALL TEMPORARYDESK AGAINST
THE WALLIN RBG. HER BACKIS TO
MCCANN.
CATHERINE
No.
MCCANN
You knewwhat you were...
1053-05
SCENE136 - MCS- CATHERINE,FACINGL
AWAYFROMO.S. MCCANN,TAKES OFF HER
JACKET.
MCCANN
(off)
..doin?
CATHERINE
My job. He likes me. Hell keepliking me.
1061-02
SCENE139 - MCS- MCCANNSTARESDOWN
AT A PHOTOGRAPH.
CATHERINE
(off)
Keephim right next to me.
MCCANN
Andyou dont care whatthat makesy-...
1065-12
Thatll keephim next to me.
(i.e., Crownsattraction to mewill
meanhe will stay in mypresenceand
can observehim.)
MCCANNTO CATHERINE)
Andyou dont care what that makesyou.
(implying that McCann
thinks that
Catherine is unnecessarily
promiscuous)
(4AB- 194)
R/4AB PI32
TITLE
NO.
MASTER

DOLLIESIN ON
CATHERINE, WHOIS FACING L AWAYFROM
O.S. MCCANN,AS SHE PAUSESA MOMENT.
MCCANN
(off)
_.-Oil.
CATHERINESITS DOWNAND TURNSR TO

O.S. MCCANNAS CAMERATILTS DOWNWITH
HERINTO CS.
CATHERINE
(sighs) I knowwhatIm...
637
1074.10 1076.12 2.2

(over sceneend)
I knowwhatIm doing.
638
.1077.2
MCCANNTO CATHERINE)
Doyou really?
639
1080.6 1083.10 3.4
CATHERINETO MCCANN)
This is just about money,Mike.
(This : referring to her sexual
involvement with Crown)
(meaningthat Catherineis only going
to theselen~]ths in order to obtain the
painting for her employers
- note that
this contradicts whatwassaid in Titles
#339 & #509)
640
1086.14 1089.14/ 3.0
Hes got a problem.
(He : referring to Crownin the third
person, rather than addressinghim
directly)
(implying that Crownhas a problem,
becausehe is truly attracted to
Catherine,whichputs him in a difficult
position)
(note that we havereturned to the
scenewith Crownand his Psychiatrist)
1075-07
SCENE141-MCS-MCCANN STARES LFG AT
O.S. CATHERINE.
CATHERINE(on
...doing.
MCCANN
Doyoureally?
1079.2
2.0
1079-10
SCENE142 - CS - CATHERINESTARESRFG
AT O.S. MCCANN,THEN ABRUPTLYTURNS
AWAYFROMHIM.
CATHERINE
This is just about money,Mike.
CATHERINEPICKS UP THE PHONEAND
LEANS BACK IN HER CHAIR, CAMERA
PANNINGR WITH HER.
PSYCHIATRIST
(voice over)
(chuckling) Oh-h-...
1085-15
OFFICEDAY - CS - THE PSYCHIATRISTLOOKSRFG
AT O.S. CROWNAND GRINS KNOWINGLY.
PSYCHIATRIST
...-h, hes got a problem.
1090-01
SCENE144 - MS - CROWN,LEANINGBACKIN
HIS CHAIR, RUBSHIS LIPS PENSIVELY.
1094-01
(4AB- 195)
R/4AB PI33
TITLE
NO.
MASTER
LIST
SCENE145 - EXT. AIRPORT

- DAY- FS - A
GLIDER MOVESR DOWNTHE RUNWAY,
CAMERAPANNINGWITH IT TO REVEALTHE
SMALL PLANE TOWINGIT AS THEY BOTH
TAKE OFFINTO THE AIR.
1104-10
SCENE146 - FS - CAMERA
PANSWITH THE
GLIDERAS IT MOVES
L UP INTO THE SKY,
REVEALINGTHE PLANE AHEADOF IT. THEN
CAMERAFOLLOWSTHE TWOAIRCRAFT IN
MLS.
tlt4-t5
SCENE147 o EXT. SKY- DAY- FS - HIGH
ANGLE - CAMERAFOLLOWSTHE GLIDER AS
IT SOARSABOVEFALL TREES.
1118-15
SCENE148 - MCS- THE GLIDERCOCKPIT.
MOVESR INTO FRAME, REVEALING
CATHERINEAND CROWNINSIDE.
CATHERINE
(off)
I could get usedto this.
641
/1119.0
1121.4 2.4
642
1121.10 1125.10 4.0
CROWN
(off)
Hmm,just hold on (on) now.
CATHERINE TO CROWN)
I couldget usedto this.
(this : this kind of activity)
(note that Catherine and Crownare
nowin a glider, whichhas just been
detachedfrom the tow plane)
CATHERINE
Hold on, why?
THE GLIDER, NOWDETACHEDFROMTHE
TOWPLANE, BANKS STEEPLYTO ONE SIDE
AND DROPSDOWNOUT OF FRAME.
CATHERINE
(contd)
(screams,.then laughs - continues under

CATHERINE TO CROWN)
-Just hold on now.
-Hold on why?
(hold on : hold onto the controls)
(Crownsteers the glider into a flip
Catherine shrieks and laughs)
following scene)
1126-03
SCENE149 - FS - THE GLIDERBANKSL,
CAMERA
PANNINGWITH IT.
CATHERINE
(voice over)
What?!
1128-10
(4AB- 196)
R/4ABPI34
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLF-JSPOTIINGLIST
SCENE150 - MLS - THE GLIDERTIPS OVER

SO THAT IT IS UPSIDE-DOWN,CAMERA
TILTING DOWNWITH IT,
CATHERINE
(voice over)
(laughs excitedly) All rightt (screams
giggles - continues underfollowing scene)
1136-15
SCENE151 - INT. GLIDERCOCKPIT- DAY MCS- CATHERINELAUGHSGIDDILY AS THE
GLIDER TURNSRIGHT SIDE UP AGAIN.
t t40-00
SCENE
152 - EXT. SKY- DAY- MLS- HIGH
ANGLE- THE GLIDER BANKSFROMONE SIDE
TO THE OTHERAS IT SOARSABOVETHE
TREES. CAMERAFOLLOWSIT.
1143-04
SCENE153 - FS - THE GLIDER BANKSDOWN
L, CAMERA
PANNINGWITH IT.
1145-14
SCENE154 - FS - THE GLIDER BANKSDOWN
STEEPLY, CAMERA
TILTING DOWNWITH IT.
1148-04
SCENE155 - INT. GLIDERCOCKPIT- DAYMCS - CROWNLEANS OVER CATHERINEAND
SHOWSHER HOWTOPILOT THE GLIDER.
CROWN
Youre gonnatake the stick.
643
/1148.8
1151.0 2.8

CATHERINE TO CROWN)
-Takethe stick.
-Oh, no.
(the stick : term for the lever which
controls the glider)
644
1151.6
1154.2

CATHERINE TO CROWN)
-Takethe stick.
-Im not--
645
1154.10 1157.2/ 2.8
CATHERINE
Oh, Im not taking-CROWN
Takethe stick.
CATHERINE
(chuckling) Im not taking the--
2.12
CROWN
(overlapping)
Just put your handson the stick. There you go.
Very good.
CATHERINE
(overlapping)
Oh, no.
CROWNTO CATHERINE)
Just put your handson it.
(Catherinereluctantly doesthis - then
slowly gets usedto controlling the
glider)
1157-03
(4AB- 197)

"THE THOMAS
CROWN
A~FFAIR
R/4ABPI35
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOIIING LIST
SCENE
156 - EXT. SKY- DAY- FS - THE
GLIDER MAKESA SHARPTURN ABOVE
GRASSYFARMLANDAS CAMERAPANS L
WITHIT.
1162-01
SCENE157 - FS - THE GLIDERDIVES DOWNR
ABOVE A MOUNTAINSLOPE, CAMERA
PANNINGWITH IT.
CATHERINE
(voice over)
(chuckles - continues under following scenesand
dialogue)
1165-11
MOVESIN ON THE
COCKPIT, WITH CROWNAND CATHERINE
INSIDE, AS THE GLIDER MOVESR OVERTHE
TREES. THE GLIDER BANKS TOWARD
CAMERA.TO REVEAL CATHERINES HANDS
ON THE STEERINGSTICK.
CROWN
(low andindistinct to:) Thats it. Thats good.
646
/1165.14 1168.14/ 3.0
CROWNTO CATHERINE)
Thats it. Thats good.
(expressions of encouragement)
647
1170.14 1173.2
(over scene end)
2.4
CATHERINE)
(shrieking happily)
Oh, my God!
(the glider moves
low towarda hill)
Tha-...
1169-01
SCENE159 - MFS- THE GLIDERBANKSR,
CAMERAPANNINGWITH IT.
CROWN
(voice over)
...-ts good.
CATHERINE
(voice over)
(shrieks) Oh, my(chuckling) Go-...
1171-14
SCENE160 - FS - THE GLIDER COMPLETES
A
TURN AND STRAIGHTENSOUT, CAMERA
PANNINGR WITHIT.
CATHERINE
(voice over)
...-d! (shrieks and laughs)
1176-02
(4AB- 198)

TITLE
NO.
MASTER
ENGLISH
SUBTITLF../SPOI"IINGLIST

STRAIGHTDOWNINTO THE COCKPIT AS
CROWNCOACHESCATHERINEIN PILOTING
IT.
CROWN
Headfor that hill over there.
CATHERINE
(overlapping)
(laughing) No! (laughs - continues under
CROVVN
Headfor that hill. Dont lose it now.
648
1176.10
1181.6 4.12
649
/1181.14 1184.0 2.2
CROWNTO CATHERINE)
There you go.
(interjection of approval)
(the glider zoomsalong the top of the
hill, only a fewhundredfeet aboveit)
650
/1187.14 1190.14/ 3.0
CROWNTO CATHERINE)
This is ridge-running.
(This : Whatwere doing)
(ridge-running : term for gliding very
low over the ridge of a hill)
651
/1191.4
CROWNTO CATHERINE)
-This is great.
-Im in your hands.
(This : The experienceof ridgerunning)
(Im in your hands: i.e., My safety is
in your control - meaning
that
Catherine has completecontrol of the
glider)
1181-11
CROWNTO CATHERINE)
Headfor that hill over there. Dontlose it.
(lose it : i.e., lose control of the
glider)
SCENE162 - MFS- THE GLIDER BANKS

DOWNL, CAMERAPANNINGWITH IT.
CROWN
(voice over)
Dont lose it. There you go. Comeon.
1184-13
SCENE163 - MLS - LOWANGLE- LOOKING
UP AT THE GLIDER AS IT ZOOMSPAST
CAMERA.CAMERATILTS DOWNWITH IT TO
REVEALIT IS HEADINGDOWNTOWARDA
RIDGE.
CROWN
(voice over)
All right.
1187-11
PANSWITH THE
GLIDER AS IT MOVESR ABOVEA RIDGE.
CROWN
(voice over)
This is ridge-running. Weredoing it.
1191-01
SCENE165 - FS - HIGH ANGLE- THE GLIDER
SOARSR ABOVE THE TREES, CAMERA
PANNINGWITH IT.
CATHERINE
(voice over)
Oh, this is great.
CROWN
(voice over)
Im in your hands.
1195-04
1195.0/ 3.12
(4AB- 199)
"THE THOMAS
CROWN
AFFAIR"
R/4AB PI37
TITLE
NO.
MASTER
SCENE166 - INT, GLIDERCOCKPIT- DAY MCS - CROWNMOVESHIS HANDS AROUND

IN FRONTOF CATHERINES.FACEAS IF THEY
WEREGLIDING.
CROWN
Just feel that. Feel that. Youfeel that?
652
11195.6 1199.6 4.0
CROWNTO CATHERINE)
Just feel that. Youfeel it?
(that : the movement
of the glider)
653
1199.14 1201.4/ 1.6
CATHERINETO CROWN)
I do.
654
1207.2
CATHERINE
Ido.
1201-05
SCENE167 o EXT. SKY- DAY- FS - LOOKING
PAST THE RIDGE TO THE GLIDER FLYING
JUST BELOWIT AS CAMERAMOVESALONG
WITHIT.
1204-11
STRAIGHTDOWNAT THE GLIDER AS IT
PASSES RIGHT UNDERCAMERA.
1206-09
SCENE169 - INT. GLIDERCOCKPIT- DAY MCS- CATHERINESIGHS HAPPILY AS
CROWN
HELPS HER PILOT THE GLIDER.
CATHERINE
Oh.
CROWN
(overlapping)
To the left. Tothe left.
1209.12/ 2.10
CROWNTO CATHERINE)
Left. To the left.
(Left : i.e., Fly slightly to the left)
THE GLIDER STARTSBANKINGL.

1209-13
SCENE
170 - EXT. SKY- DAY- FS - THE
GLIDER BANKS DOWNL OVER THE TREES AS
CAMERAMOVESR AROUNDIT.
1215-14
(4AB- 200)
- ~"THE THOMASCROWNAFFAIR" R/4AB PI38

TITLE
NO,
LIST
SCENE171 - MS o HIGH ANGLE- LOOKING

DOWNAT THE BACK OF THE COCKPIT, WITH
CROWNAND CATHERINEINSIDE, AS THEY
GLIDE OVERTHE TREES.
CROWN
Pick up a thermalcomingover the hill.
655
1216.14 1220.14 4.0
CROWNTO CATHERINE)
Well pick up a thermal comingover the
hill.
(pick up a : i.e., gain speedor
altitude from)
(thermal : rising body of warmair)
(meaningthat the rising warmair will
also lift up the glider)
656
1221.8 1225.0
(over sceneend)
CROWNTO CATHERINE)
Just like a hawk.
(meaningthat they are sailing over the
hill just as a hawkwould)
(the glider finally lands in anopenfield
- Catherinegets out and seesa herd of
CATHERINE
Uh-h.
CROWN
(overlapping)
Juo._ ~
1222-03
SCENE172 - MFS- CAMERA
TILTS UP WITH
THE SIDE OF THE GLIDER AS IT RISES UP ON
A THERMAL.
CROWN
(voice over)
...-st like a hawk.
3.8
COWS)
THE GLIDER RISES UP OUT OF FRAME.

1226-08
SCENE 173-MLS-THE GLIDER ANGLES UP
R, MOVINGHIGHERIN THE SKY, AS CAMERA
PANSWITHIT.
1230-14
CROSSESL
BELOWTHE GLIDER AS IT SOARSABOVE
THE TREES.
1235-04
STRAIGHT DOWNAT CROWNAND
CATHERINEIN THE COCKPIT AS CROWN
STROKESCATHERINESHAIR.
1238-07
SCENE176 - LS - HIGH ANGLE- LOOKING
DOWNAT THE GLIDER AS IT SOARSBG
ABOVE A LARGE PATCHWORKOF GRASS
AND FOREST.CAMERA
TILTS UP WITH IT.
t248-07
SCENE177 - EXT. PASTURE
- DAY- FS - A
FARMERDRIVES HIS TRACTORR ACROSS
THE FIELD, CAMERAPANNINGWITH HIM. HE
STANDSUP IN HIS SEAT AS HE SEESTHE
O.S. GLIDER.
1252-10
(4AB- 201)
".THE THOMASCROWN
AFFAIR"
R/4ABPI39
TITLE
NO,
LIST
SCENE178 - MLS - LOOKINGACROSSTHE

FIELD PAST SOMECOWSTO THE TRACTOR
MOVING R, CAMERAPANS R PAST THE
TRACTORAND COWSTO REVEAL THE
GLIDER PARKEDIN RFG. THE COCKPIT
DOMEIS OPEN, AND CROWNAND
CATHERINEARE UNBUCKLINGTHEIR SEAT
BELTS.
1261-01
DOLLIES IN ON
CATHERINEAS SHE LEANS HER HEAD OUT
OF THE COCKPIT AND LOWERSHER
SUNGLASSES
TO LOOK AT THE COWSIN THE
PASTURE.
CATHERINE
Mmm. Cows.
657
1264.10 1266.10 2.0
CATHERINE TO CROWN)
Cows.
658
1267.14
CATHERINE TO CROWN)
Wereabout four states from your car.
(dryly implying that they traveled the
distance of four states from NewYork)
.(Crowntakes out his cellular phoneshort while later, he andCatherineare
on boardhis private jet - Catherine
looks out the windowand sees a
tropical island below)
659
1296.10 1300.10/ 4.0

(over scene end)

REVEAL CROWNBEHIND HER, LOOKING
AROUNDWITH A GRIN. CAMERATHEN
PULLS BACK TO AGAIN INCLUDE CATHERINE
IN RFG.
CATHERINE
(off) (contd)
Well, thats okay, were (on) only aboutfour
1272.6 4.8
states from your car.

CAMERAHOLDSPAST CATHERINE, RFG, TO
CROWNAS HE LOOKSAT HER FOR A
MOMENT.HE THEN TAKES OUT HIS CELL
PHONE.
1279-06
WIPE TO:
SCENE180 - EXT. LOCALAIRPORT- DAY- FS
- CROWNSPRIVATE JET PLANE TAKESOFF
R FROM THE RUNWAY, CAMERAPANNING
WITH IT. IT SOARSOFF INTO THE DISTANCE.
1290-05
SCENE
181 - INT. PRIVATEPLANE- DAY- LS CATHERINESPOV - LOOKINGOUT A
WINDOWTO THE SHOREOF A TROPICAL
ISLAND AS THE PLANE APPROACHES
IT.
CATHERINE
(off)
Thatisland...
1298-02
CATHERINE TO CROWN)
That island isnt Manhattan.
(Manhattan: the central boroughof
NewYork City, located on an island)
(4AB- 202)
R/4ABPI40
COMBINED
CONTINUIiY & DIALOGUE
TITLE
NO,
MASTER
LIST
SCEN_E182 - MCS- CATHERINE,SEATED

BESIDE THE WINDOW,TURNSTO LOOK RFG
AT O.S. CROWN.
CATHERINE
...isnt Manhattan.
1300-14
SCENE183 - MCS- CROWN,STANDINGIN
THE MIDDLE OF THE PLANE, LEANS OVERTO
LOOKR OUT ANOTHERO.S. WINDOW.
CROVVN
Its not?
660
1301.10 1303.10 2.0
CROWN
TO CATHERINE)(mildly)
Its not?
661
11305.141308.10
2.12
CATHERINE TO CROWN)
I have appointments.
(meaningthat she has appointmentsto
keepand cannottake a trip to an
island in the Caribbean)
662
1311.4
2.0
CROWNTO CATHERINE)
Want to keep them?
(them:i.e., your appointments)
(Catherine smiles)
CATHERINE
(off)
No.
CROWNTURNSLFG TO O.S. CATHERINE.
1305-13
SCENE184 - MCS- CATHERINELOOKSRFG
AT O.S. CROWN.
CATHERINE
I have appointments.
CATHERINE LOOKS OUT THE WINDOW
AGAIN.
1309-14
LOOKSLFG AT
O.S. CATHERINE.
CROWN
Wannakeep em?
1313-07
1313.4/
SCENE186 - MCS- CATHERINEGRINS AS

SHE LOOKS OUT THE WINDOW.
1316-04
SCENE187 - LS - CATHERINESPOVLOOKINGOUT THE WINDOWTO THE ISLAND
SHOREAS THE PLANEFLIES L ALONGIT.
1321-05
SCENE188 - EXT. ISLANDAIRPORT- DAYFS - CATHERINESPOV- SOMELOCAL
POLICE STANDOUTSIDEA SMALL BUILDING,
ALL STARINGAT O.S. CATHERINE.CAMERA
PANSL, OFF THEM.
1329-00
(4AB- 203)
"THE THOMASCROWN
AFFAIR~ R/4AB ;~141
COMBINED
TITLE
NO.
MASTER
LIST
SCENE189 - MCS- CATHERINE,STANDING

ON THE TARMAC, TURNSTO SURVEYTHE
ISLAND AS CAMERAPANS R, OFF HER TO
REVEALA DISTANT MOUNTAINRANGE.
CAMERATHEN PANS L TO REVEAL THE
PRIVATE PLANE AS PORTERSUNLOADMANY
PIECES OF BAGGAGEFROMTHE REAR. ONE
OF THE MENCLAPS HIS HANDSAND GIVES
ORDERSTO A MAN UNLOADINGA CRATE,
WHICH HAS THE SAME DIMENSIONSAS THE
STOLENMONETPAINTING.
MAN ON TARMAC
(in foreign language- continue~underfollowing
scene)
THE MANTAKES THE CRATE.
1350-03
SCENE190 - CS - CATHERINESTARESRFG
AT THE O.S. CRATE, FROWNING
CURIOUSLY.
1354-10
POVCAMERAPANS WITH THE MAN AS HE
CARRIESTHE CRATEL TO A JEEP.
1362-10
SCENE192 - MCS- CAMERAPULLS BACK
FROM CATHERINE AS CROWNCOMESUP
BEHIND HER AND HANDSHER A COLDDRINK.
HE THENWALKSL TO A CAR -- A RACER
WITH A ROLL BAR ANDNO ROOF-- AS
CAMERAPANS WITH HIM, OFF CATHERINE.
1371-14
RACERTO CATHERINEAS CROWNCLIMBS
INTO THEDRIVERSSEAT IN LFG.
CATHERINETRIES TO OPENTHE
PASSENGER
DOORAND FINDS IT IS STUCK.
1375-05
SCENE194 - MS - LOOKINGOVERTHE BACK
OF THE RACER TO CROWNAS CATHERINES
HANDKNOCKSON THE CAR DOOR, R. HE
GLANCESOVER AT HER.
CROWN
Doors welded. Throwyour leg.ove-...
1380-06
663
1377.14 1381.2 3.4

(over sceneend)
CROWNTO CATHERINE)
Doors welded. Throwyour leg over.
(Doors welded: i.e., The door is
weldedshut)
(Throwyour leg over : i.e., Kick your
leg up andover the door to climb into
the passengerseat)
(note that Crownand Catherine have
landed on a Caribbeanisland and
disembarkedfrom the plane o along
with luggage, Catherinenotices
workerscarrying off a Monet-sized
crate - Crowngets into a jeep and
whenCatherine goes to the passenger
side, she finds the door wont open)
(4AB- 204)
"THE THOMASCROWNAFFAIR" RJ4AB PI~2

TITLE
NO.
LIST

RACERPAST CROWN,LFG, TO CATHERINE
AS SHE HANDSHIM THE DRINK.
CROWN
CATHERINE
Throwmyleg over.
CATHERINE TOSSESHER SWEATERIN BACK
AND CLIMBS OVERTHE DOORINTO THE
PASSENGERSEAT AS CROWNSTARTS THE
ENGINE.
1390-03
664
1381.10 1384.0 2.6
CATHERINE TO CROWN)
Throwmyleg over.
(Catherine climbs into the jeep and
Crowndrives off - they drive through
the small townon the island, heading
for a houseup on a cliff - they arrive at
the house, which overlooks the oceanit is small andquaint o Catherinelooks
at it admiringly)
SCENE196 - MCS- LOOKINGOVERTHE

BACK OF THE RACERTO CATHERINEAS SHE
SETTLES IN HER SEAT AND TURNSTO LOOK
FG. THE RACER THEN MOVESAWAY FROM
CAMERAINTO MS.
! 396-00
SCENE197 - MS - THE MANWITH THE CRATE
GETS IN THE PASSENGER
SEAT OF THE
JEEP AS THE DRIVERSTARTSTHE ENGINE.
THE JEEP THEN MOVESR, CAMERAPANNING
WITH IT TO REVEALTHE CRATEIN BACK.
1400-05
SCENE198 - FS - THE JEEP FOLLOWS
THE
RACER RBG AWAYFROMTHE PLANE.
1403~06
SCENE199 - MLS - HIGH ANGLE- LOOKING
DOWNAT THE ENTIRE TARMACAS THE TWO
CARS MOVERBG ACROSSIT.
t407-03
SCENE200 - EXT. SKY ABOVEISLAND - DAY LS - AERIAL SHOT- CAMERA
RISES UP OVER
A TREE-COVERED
HILL TO REVEALA
TROPICALBAY IN THE DISTANCE.
1416-08
(4AB- 205)
R/4ABPI43
TITLE
NO.
MASTER
LIST
SCENE201 - EXT. ISLANDTOWN- DAY- FS CAMERAPULLS BACK FROMA LOCOMOTIVESHAPEDTOURBUS PARKEDAT THE SIDE OF
THE ROADAND PANS R TO REVEAL
CROWNSRACER AND THE JEEP MOVING
DOWNTHE ROAD PAST THE BUS: CAMERA
MOVESBACK WITH THE RACER.
GEORGES
FORDANT(voice over)
(sings "CabanLa Ka Kratchie" - continues under
1421-10
SCENE202 - MS - LOOKINGUP OVERTHE
HOODTO CATHERINEAND CROWNIN THE
RACERAS CATHERINESTANDSUP IN HER
SEAT AND LOOKSAT THE SIGHTS, CAMERA
CATHERINE
(low) I love (continuesindistinct)!
1425-08
SCENE203 - MFS- CATHERINESPOVCAMERATILTS UP THE SIDE OF AN OLD
CHURCHWHILE MOVINGL PAST IT.
1430-16
SCENE204 - MS - LOOKINGUP OVERTHE
RACER HOODTO CATHERINE AND CROWN
AS SHE POINTS AT MORESIGHTS. THE JEEP
FOLLOWS
IN LBG.
CATHERINE
Oh, thats beautiful. (continues low and
indistinct)
1436-08
SCENE206 - MFS - CAMERAMOVESBACK
WITH THE RACER, MOVINGRFG, AS
CATHERINESHRIEKS AND HOOTS
EXCITEDLY.
CATHERINE
(hoots - continues under following scene)
1438-09
PANS WITH THE
RACERAS CROWNTURNS IT R AROUNDA
CORNER. CATHERINEIS NOWSEATED
AGAIN.
1441-09
(4AB- 206)
"THE THOMAS
CROWN
AFFAIR"
R/4AB PI44
TITLE
NO.
MASTER
MOVESL PAST
SOMELOCALSSTANDINGIN FRONTOF A
BUILDING AS THEYWAVETO THE O.S.
CARAVAN. CAMERATHEN PANS R TO
REVEAL THE CARAVANMOVING FG DOWN
THE ROAD-- CROWNSRACER, FOLLOWED
BY THE JEEP AND SEVERALOTHERCARS.
1448-12
SCENE208 - MS - CAMERAMOVESBACK
WITH THE RACERAS CROWNTURNSIT RFG
AROUNDA CORNER. THE JEEP FOLLOWS.
1453-13
SCENE209 - EXT. ISLAND LANDSCAPE
DAY - LS - AERIAL SHOT- CAMERA
SOARS
OVER A FIELD TOWARDTHE RACERAND
JEEP AS THEY MOVER ALONGA DIRT ROAD
LEADINGUP A HILL.
CAMERA
THENTILTS
UP PAST THE CARS TO REVEAL A HOUSE
ATOP. THE HILL OVERLOOKING
THE OCEAN.
CAMERASOARS UP TOWARDTHE HOUSE.
1489-12
SCENE210 - EXT. CROWNS
ISLAND ESTATEo
DAY - MCS- LOOKINGFROMTHE BACK OF
THE RACER TO CROWNAND CATHERINEIN
THE FRONTSEATS AS THEYDRIVE DOWNA
JUNGLE ROAD. CATHERINESTANDSUP IN
HERSEAT AS CAMERATILTS UP, OFF HER
AND CROWN,TO REVEAL THE TREETOPS,
THEN CAMERATILTS DOWNTO REVEAL THE
HOUSEBEHIND THE TREES.
1506-05
SCENE21t - MLS - AERIAL SHOT- CAMERA
SOARSR OVER THE HILLTOP HOUSEAS THE
RACERAND JEEP TURN INTO A CIRCULAR
DRIVEWAY
IN FRONTOF IT.
1522-02
SCENE212 - EXT. ISLAND HOUSE/PATIO
o
DAY - FS - CATHERINESPOV- CAMERA
PANSL OVERTHE PATIO.
665
1525.8
1528.8 3.0
CATHERINE TO CROWN)
Oh, this must go over.
(this : this house)
(go over : colloquial for, be metwith
great approval andpleasure)
666
1529.0
1530.8/ 1.8
CROWNTO CATHERINE)
With whom?
CATHERINE
(off)
Oh, this mustgo over.
CROWN
(off)
With whom?
1530-09
(4AB- 207)

TITLE
NO.
LIST
SCENE213 - MCS- CATHERINEWALKSLFG

TOWARDTHE O.S. PATIO, CAMERA
DOLLYINGBACK WITH HER.
CATHERINE
Whomever
you bring here.
667
1531.4 1534.0/
2.12
CATHERINE TO CROWN)
Whomever
you bring here.
668
1535.8 1538.0
2.8
CROWNTO CATHERINE)
I never bring anyonehere.
(Catherine eyes Crown,trying to gauge
if thats the truth - he goesinto the
bedroomof the house and opens the
closet, whichis filled with womens
clothes)
669
ITAL
1548.10
670
1552.10 1555.12 3.2

(over sceneend)
1534-04
SCENE214 - MS - CROWNWALKSRBG ONTO
THE PATIO, HEADINGTOWARDA KITCHEN
DOOR,AS CAMERAPANSWITH HIM INTO FS.
CROWN
I never bring anyonehere.
1539-04
AT O.S. CROWN,REACTING, AS CAMERA
DOLLIESIN ON HER.
1544-13
SCENE216 - INT. ISLAND HOUSE/BEDROOM
DAY - MS - CROWN
OPENSA CLOSETTO
REVEAL A FULL RACKOF WOMENS
CLOTHES.
CROWN
Voile.
1550.6 1.12
CATHERINE
(off)
1551-06
CROWNTO CATHERINE)
Voild.
(French interjection meaning,See
there, usedto call attention or suggest
an appearanceas if by magic)
SCENE217 - MS - CATHERINESTANDSON AN
OPENBALCONY,LOOKINGRFG AT THE O.S.
CLOSETAND GRINNING.
CATHERINE
I bet theyre all mysize, h-...
1554-07
CATHERINE TO CROWN)
I bet theyre all mysize.
(they : the items of clothing)
(4AB- 208)
R/4ABPI46
TITLE
NO.
LIST
SCENE218 - MS - CROWN,STANDINGIN
FRONT OF THE OPEN CLOSET, GLANCES
BACK AT THE CLOTHES, THEN LOOKSLFG
AT O.S. CATHERINEAND NODS.
CATHERINE
(off)
...-uh?
CROWN
Couldbe. Mightbe off a little
671
1556.8
1563.8
7.0
CROWNTO CATHERINE)
Could be. Theymaybe off a little here and
there, but I think theyll do.
(be off a little hereandthere : i.e.,
be not a perfect fit occasionally)
(do : suffice)
672
1564.2
1566.6
2.4
CROWNTO CATHERINE)
Im going to makedinner.
(Crowngoesinto the kitchen
Catherine changesout of-her dress
into a sarongskirt and remainstopless
- she headsout to the patio)
673
1586.8
1587.12 1.4
CATHERINE TO CROWN)
Comeon.
(i.e., Comeout onto the patio with
me.)
674
1588.0
1592.0

CATHERINE TO CROWN)
-You want somewine?
-Yes!
(Catherinelooks out at the view)
here andthere,..
but, uh, I think theyll makedo. Ill
go make
dinner.
CROWN
POINTS L TO THE O.S. KITCHEN,
THENSTARTSTO EXIT.
1567-09
SCENE219 - MS - CATHERINEWATCHES
O.S.
CROWNLEAVE, THEN TURNSTO LOOK UP AT
SOMETHINGSATOP. A CABINET.
1572-11
SCENE220 - MCS- CATHERINESHAND
REACHESFOR A TOY LOCOMOTIVEATOP
THE CABINET AND PULLS IT DOWN.CAMERA
TILTS DOWNWITH HER FACE AS SHE LOOKS
AT IT ANDSMILES.
1582-09
SCENE22t - INT. ISLAND HOUSE/KITCHEN
EVENING- MS - CATHERINE,TOPLESS,
ENTERS RFG AND HURRIES THROUGHTHE
KITCHEN PAST CROWN,WHOIS LEANING
AGAINST A COUNTER,R, ALSO
BARECHESTED. CAMERA FOLLOWS
CATHERINE.
CATHERINE
Ah. Comeon!
CATHERINESLAPS CROWNSREAR END,
THEN RUNSL OUT A DOORONTOTHE PATIO
AS CAMERACONTINUESTO FOLLOWHER.
CROWN
(face off)
You want some wine?
CATHERINE
Yes!
4.0
(4AB- 209)
"THE THOMAS
CROWN
AFFAIR"
R/4AB PI47
I TITLE
NO.
MASTER
ENGLISHSUBTITLF.JSPOTTING
LIST
CATHERINERUNSACROSSTHE PATIO TO A
SMALL WOODENBALCONYTHAT
OVERLOOKSTHE OCEAN.
CATHERINE
(contd)
Whoo,its beautiful!
675
1592.12 1595.12 3.0
CATHERINE TO CROWN)
Its beautiful!
(It : The view)
(Catherinethen notices the art crate on
a chair in the patio - Crowncomesout
with a bottle of wine)
676
1616.8
CROWNTO CATHERINE)
Wantto see it?
(it : the painting in the crate)
677
1620.8 1622.2/ 1.10
CATHERINE TO CROWN)
No.
678
1623.4

CATHERINE TO CROWN)
-You sure?
-Im sure.
679
1629.4 1631.8
(over sceneend)
CATHERINESTOPSAT THE EDGE OF THE

BALCONYAS CAMERACONTINUES MOVING
IN ON HER. CAMERATHEN PANS R, OFF
CATHERINE, TO FULLY REVEAL THE OCEAN
V l EW.
1606-07
SCENE222 - MCS- CATHERINESTARESR
OUT OVER THE OCEAN, THEN GLANCESRFG
AND NOTICESTHE O.S. CRATE.
161t-09
SCENE223 - MS - CATHERINESPOVLOOKINGOVERA PATIO TABLE TO THE
CRATELEANING AGAINST THE WALL OF THE
HOUSE. CROWNENTERS R AND BENDSHIS
HEAD DOWNINTO FRAMEOVER THE CRATE,
LOOKINGAT O.S. CATHERINE.
1618.2/
1.~0
CROWN
Wannasee it?
1618-04
SCENE 224-MCS-CATHERINE SMILES AND
SHAKESHER HEAD.
CATHERINE
No.
1622-04
SCENE225 - MFS - CROWNWALKSACROSS
THE PATIO FROMTHE CRATE, POURINGTWO
GLASSESOF WINE, AS CAMERAPULLS BACK
SLIGHTLY TO INCLUDECATHERINEIN LFG.
1626.12 3.8
CROWN
You sure?
CATHERINE
(face oft)
Im sure.
CROWNSTEPS UP ONTO THE BALCONYAS
CAMERAHOLDS.
CROWN
Havea splash?
1630-09
2.4
CROWNTO CATHERINE)
Havea splash?
(i.e., Do you wanta small amountof
wine?)
(4AB- 210)

TITLE
NO.
MASTER
SCENE226 - MCS- PAST CROWN,ENTERING

RFG, TO CATHERINEAS SHE TURNSTO HIM.
SHE WHIPS A TOWELOFF FROMAROUND
HER SHOULDERSAND WRAPSiT AROUND
CROWNSNECK.
CATHERINE
Comehere.
680
1639.0
1640.12 1.12
681
1660.8
682
1670.4 1672.0
(over sceneend)
683
1676.9 1678.1/ 1.8
CROWNSTEPS CLOSERTO CATHERINE, AND

THEYSTARTTO KISS.
1647-01
CATHERINE TO CROWN)
Comehere.
(here : i.e., to me)
(Catherine grabs Crownand kisses him
o that night, CatherineandCrownsit
outside and the crate is nearby- there
is a fire goingin a outdoorfireplace)
DISSOLVETO:
SCENE227 - EXT. ISLAND HOUSE/PATIO
NIGHT - MCS- CROWNS
POV - LOOKING
OVERTHE TABLE PAST CATHERINES
SEATEDTORSO, LFG, TO THE CRATE
LEANINGAGAINSTTHE WALLIN BG.
1651-08
SCENE228 - ECS - CROWNSEYES STARE
LFG AT THE O.S. CRATE. HIS GAZESHIFTS
RFGTO O.S. CATHERINE.
1657-00
SCENE22~) - MCS- CROWNS
POV- CAMERA
SLOWLYTILTS UP AND PANS L FROMTHE
CRATETO REVEAL CATHERINESEATEDAT
THE TABLE, IDLY CHEWINGON A TINY CRAB
LEG.
CATHERINE
(cracks crab leg with teeth)
CROWN
(off) (overlapping)
Wannasee it?
1662.8
2.0
CATHERINEGLANCESBACKR AT THE O.S.

CRATE, THEN TURNSTO CAMERA.
CATHERINE
No.
1.12
CROWNTO CATHERINE)
Wantto see it?
(again referring to the painting in the
crate)
CATHERINE TO CROWN)
NO.
1671-03
TO CROWNOPPOSITE HER AS HE NODS. HE
GLANCESAWAY, DISAPPOINTED, THEN
TURNSTO HER AGAIN.
CROWN
You sure?
CROWNTO CATHERINE)
You sure?
1678-01
(4AB- 211)

TITLE
NO.
MASTER
ENGLISH
SUBTITLF,/SPOI"IING LIST

LFG, TO CATHERINEAS SHE MUNCHESON
THE CRABLEG.
CATHERINE
(cracks crab leg with teeth) Youthink I believe
684
1680.2
1686.6 6.4
685
1686.12 1689.0 2.4
CROWNTO CATHERINE)
Whatif I did?
686
1691.7
1693.1/ 1.10
CATHERINE TO CROWN)
Youd tell me?
687
1693.8
1695.8/ . 2.0
CROWNTO CATHERINE)
Whatif I trust you?
688
1696.8
1698.14 2.6
CATHERINE TO CROWN)
You knowyou cant.
689
1699.10 1703.6/ 3.12
CROWNTO CATHERINE)
Its not possible you could trust me?
690
1704.4
CATHERINE TO CROWN)
Youknowhowlikely I think that is?
(that : mytrusting you)
(implyingthat it is not at all likely)
(Catherine stands up, picks up the
crate, andstarts to carry it past Crown)
youd leave your hard-stolen painting lying
CATHERINE TO CROWN)
Im to believe youd leave your hard-stolen
painting lying arounda Caribbeanhut?
(hard-stolen : stolen with great effort)
arounda Caribbeanhut? (cracks crab leg with

teeth)
CROWN
(off) (overlapping)
Whatif I did?
CATHERINE
Andthatyoudtellme?
1693-01
SCENE232-MCS-PAST CATHERINE, RFG,
.TO CROWN.
CROWN
Well, whatifltrustyou?
1695-08
LFG, TO CATHERINEAS SHE SHAKESHER
HEAD.
CATHERINE
Youknowyou cant.
CATHERINE MUNCHESON SOME MORECRAB
MEAT.
1699-05
LOOKSRFG AT
O.S. CATHERINE.
CROWN
Youdont believe its possible that you could
ever trust me, do you?
1703-07
LFG, TO CATHERINEAS SHE GRINS.
CATHERINE
Youknowhowlikely I think that is? (cracks crab
leg with teeth - continues underfollowing scene)
1708-08
1707.10 3.6
(4AB- 212)
"THE THOMASCROWN
AFFAIR"
R/4AB PIS0
COMBINED
CONTINUIT~ & DIALOGUE
TITLE
NO.
MASTER
LIST
SIPS HIS WINE
WHILE STARINGRFGAT O.S. CATHERINE.
1713-13
CATHERINEAS SHE GRINS, GETS UP FROM
THE TABLE AND GOESOVERTO THE CRATE
IN BG.
1721-08
SCENE238 - MCS - CROWNWATCHES
AS
CATHERINEPICKS UP THE CRATEIN FG.
SHE CARRIESIT TOWARD
HIM.
CATHERINE
(face off)
Excuse me.
6901 1725.4
1727.4 2.0
CAMERAPANS L, OFF CROWN,AND TILTS UP

TO CATHERINEAS SHE CARRIES THE CRATE
LBG TOWARD
AN O.So FIRE.
1732-12
CATHERINE TO CROWN)
Excuse me.
(Crownmoveshis legs to let Catherine
pass- she throws the crate into the
fire, then sits backdown- they both
stare at the crate)
SCENE239 - MFS- CATHERINECARRIESTHE

CRATERFG TO THE EDGEOF THE PATIO,
CAMERAPANNING WITH HER, OFF CROWN,
INTO MS.
1737-05
SCENE240 - MFS - CATHERINEDROPSTHE
CRATEINTO A SMALL FIRE AT THE EDGEOF
THE PATIO, THEN SHE TURNSAND HEADS
RFG TOWARD
THE O.S. TABLE.
1746-05
SCENE241 - MS o THE CRATESTARTSTO
BURN.
1749-15
CATHERINEAS SHE SITS DOWNAT THE
TABLE AGAIN WHILE LOOKINGRFG AT THE
O.S. FIRE.
CATHERINE
(sighs) (clears throat)
691
1755.8 1758.4
2.12
CROWNTO CATHERINE)
ShouldI openanother bottle?
(bottle : bottle of wine)
692
1761.0 1763.0
2.0
CATHERINE TO CROWN)
Yes.
CROWN
ShouldI openanother bottle?
CATHERINE
Mm, yes.
1764-08
(4AB- 213)
~rHF_ THOMAS
CROWN
AFFAIR"
R/4AB Pl51
COMBINEOCONTINUITY& DIALOGUE
TITLE
NO.
MASTERENGLISH SUBTITL~SPOTTING
LIST
SCENE243 - MS - PAST CATHERINE,RFG, TO

CROWN.
CROWN
I think so.
693
1765.0
1767.0 2.0
CROWNTO CATHERINE)
I think so.
(Crownlooks at the already opened
bottle)
694
1769.8
1771.14/ 2.6
CROWNTO CATHERINE)
The85 wasnt very good.
(85 : 1985- vintage Of the wine that
was opened)
(Catherineis staring at the crate, which
is nowengulfed in flame)
695
1773.10 1775.10 2.0
CATHERINE TO CROWN)
(totally distracted)
No,its not....
696
1776.0
1778.0/ 2.0
CROWNTO CATHERINE)
A truce would be good.
(truce : truce betweenus)
(meaningthat they should stop testing
each other)
697
1779.4
1781.10/ 2.6
CATHERINE TO CROWN)
That would be great.
(the painting burns up)
698
1790.12 1792.81 1.12
CATHERINE
I think so.
CROWN
Eighty-five wasnt very good.
CATHERINE
No...
1772-00
LFG, TO CATHERINEAS SHE KEEPSSTARING
RFGAT THEO.S. FIRE.
CATHERINE
...its...no, its not at all..No, its not.
CROWN
(o~ (overlapping)
Truce. A truce would be good.
1778-01
SCENE245 - MFS- THE CRATEIS NOW
ABLAZE.
CATHERINE
(off)
Thatd be great. Thatd be good.
1781-11
PAUSES, LOOKING
AROUND.
1788-10
SCENE247 - CS - CATHERINESTARESLFG
AT THEO.S. FIRE.
CATHERINE
Mm. What was it?
1792-08
CATHERINE TO CROWN)
Whatwas it?
(it : the painting in the crate)
(4AB- 214)

COMBINED
CONTINUI1W& DIALOGUE
TITLE;
NO.
LIST
GLANCESLFG AT
THEO.S. FIRE, THENTURNSR TO O.S.
CATHERINE.
CROWN
It wasa nice little Renoir.
699
1794.12 1797.8 2.12
CROWNTO CATHERINE)
A nice little Renoir.
(Renoir : painting by Pierre-AuguSt
Renoir, 1841-1919,a Frenchpainter
originally associatedwith the
Impressionist movement)
700
1801.10 1803.6
CATHERINETO CROWN)(nodding)
Renoir.
(she eyes him)
701
1812.0
702
1817.12 1820.8 . 2.12
CROWN
TO CATHERINE)(shrugging)
Well never know, Will we?
(Catherine becomesexasperated and
shouts agitatedly at Crown)
703
/1821.2
1824.10 3.8
CROWNTO CATHERINE)
-Okay,I give up!
-Easy, easy.
(give up : i.e., abandonmyattempt
to test you)
(Easy: i.e., Calmdown- Dont get
so agitated)
704
1828.2
1829.10 1.8
CROWN
TO CATHERINE)(standing up)
Ill get the bottle.
(the bottle : i.e., the newbottle of
wine)
CATHERINE
(off)
Oh...
1798-10
SCENE249 o MCS- PAST CROWN,TIPPED IN
LFG, TO CATHERINESTARINGRFG AT THE
O.S. FIRE.
CATHERINE
...Renoir.
1.12
1803-11
SCENE250 MCS- THE CRATEIS NOW
COMPLETELY
DESTROYED
IN THE FIRE.
1808-11
SCENE25t - MCS- PAST CROWN,TIPPED IN
LFG, TO CATHERINESTARINGRFG AT THE
O.S. FIRE. SHE GLANCESOVERAT CROWN
AND SMILES HOPEFULLY.
CATHERINE
Nicelittle copy?
1813.12/ 1.12
1813-14
FINISHES SIPPING
HIS WINE AND SETS DOWNHIS GLASS
BEFORELOOKINGRFG AT O.S. CATHERINE.
CROWN
(drinks) Mm. Well never know, will we?
1820-15
LFG, TO CATHERINEAS SHE THROWS
A
CRABLEG AT HIM IN FRUSTRATION.
CATHERINE
(shouting) Okay,I give up! (licks fingers)
CROWN
(overlapping)
(chuckles)Easy, easy. Think Ill
CATHERINETO CROWN)
A nice little copy?
(meaningthat she is assumingthat
Crownlet a copyof the Renoir painting
burn, rather than the original)
get that bottle.
(4AB- 215)
"THE THOMAS
CROWN
AFFAIR"
R/4AB PI53
TITLE
NO.
CROWNGETS UP FROM THE TABLE AND
EXITSR.
CATHERINE
Oh, yeah, that would be good. (laughs) Oh,
yourenot boring, Ill
705
1830.0
1832.10 2.10
CATHERINE TO CROWN)
That would be good.
(That : Your bringing more wine)
(Catherine laughs)
706
1837.0
1840.12/ 3.12
CATHERINE TO CROWN)
Yourenot boring, 131give you that.
(give you that : i.e., acknowledge
that muchabout you)
give youthat.
1841-00

MORNING- CS - LOOKINGTHROUGHTHE
BEDS MOSQUITONETTING TO CATHERINE
AS SHE SITS UP INTO FRAME,WAKINGUP.
MANIN SUIT(oft~
(in French- continues under following scenes)
HEARINGTHE VOICE, CATHERINESTARTS
TO GET OUTOF BED.
1849-02
SCENE255 o MFS - CATHERINESITS ON THE
EDGEOF THE BED AND PULLS ON A
SARONG, THEN SHE STEPS OUT FROM
BEHIND THE MOSQUITONETTING AND
WALKS BG TO A DOORWAY
THAT OPENS
OUT ONTO A BALCONY, CAMERAFOLLOWING
HER. SHE PAUSES TO PEEK AROUNDTHE
EDGE OF THE DOORWAY.
1870-15
SCENE256 - FS - CATHERINESPOVCAMERAMOVESSLIGHTLY AROUNDTHE
EDGE OF THE DOORWAYTO LOOK DOWN
THROUGHSOME BOUGAINVILLEA TO CROWN
ANDA MANIN A SUIT CHATTINGON THE
PATIO BALCONYBELOW.
1876-12
SCENE257 - CS - CATHERINESTARESDOWN
R AT THEO.S. MEN.
1881-1t
1869-11
END OF REEL 4AB
END OF REEL 4AB
(4AB- 216)
R/5ABPII
TITLE
NO.
START MEASURING
ACADEMYLEADER.
12-00
SCENE1 - EXT. ISLANDBEACH- DAY- FS CAMERADOLLIES IN ACROSSA SMALL
EXPANSE OF GRASS AND SAND TOWARD
CATHERINE,WHOIS SITTING IN A SMALL
CHAIR ON THE BEACH, READINGA
MAGAZINE. CROWN(LEGS), WEARING
SARONG, ENTERS RFG AND WALKS TOWARD
HER.
LIST
45.4 = 1ST SCENEEND
67.2 = 3RD SCENEEND
707
24.0
26.6
2.6
CATHERINE TO CROWN)
You complimented me.
(note that Catherine, having heard
Crownmeeting with someFrench
bankers, has goneout to the beachto
lie out in the sun - Crownjoins her)
CROWNREMOVESHIS SANDALS AND WALKS

PAST CATHERINE TOWARDTHE OCEANAS
CAMERAFOLLOWSHIM.
708 26.12
28.4
1.8
CROWNTO CATHERINE)
How?
CATHERINE
They were bankers.
709
28.12
30.12
2.0
CATHERINETO CROWN)
They were bankers.
(They : The men with whomyou met)
710
31.8
33.0
1.8
CROWNTO CATHERINE)
Who?
711
33.12
36.12
3.0
CATHERINE TO CROWN)
Who?The suits.
(The suits : slang for, The
businessmen)
712 38.4
41.12
3.8
CATHERINE TO CROWN)
Youretransferring assets.
713
43.0
45.2/
2.2
CATHERINE TO CROWN)
Getting ready to run.
(run : flee - go into hiding)
714
45.6
49.10
4.4
CROWNTO CATHERINE)
SupposeI did run? What would you have?
55.4
5.2
CROWNTO CATHERINE)
Not the painting, not the $5 million fee and
not me.
(fee : referring to the fee Catherine
wouldreceive if she recoveredthe
painting)
CATHERINE
Youve complimentedme.
CROWN
(face off)
How?
CROWN
(face off)
Who?
CAMERAPANS R, OFF CROWN,AND DOLLIES
L AROUNDCATHERINETO REVEALSHE IS
TOPLESS.
CATHERINE
(chuckles) Who?The suits.
CAMERAHOLDSON CATHERINEIN MCS.
CATHERINE
(contd)
Youre transferring assets. Getting ready to run.
45-04
SCENE2 - MFS - CROWNWANDERS
FG
ALONGTHE BEACH, PUTTING ON HIS
WATCH, AS CAMERATILTS DOWNWITH HIM
TO INCLUDECATHERINEIN RBG.
CROWN
And supposeI did run? Then what would you
have? Not the painting, not the five million dollar 715 50.2
fee, not me.
(5AB- 217)
R/5ABPI2
TITLE
NO.
MASTER
CROWNSTOPS IN LFG AS CAMERAHOLDS
ON HIM IN CS. CATHERINEIS OUT OF
FOCUSIN RBG.
CATHERINE
Yes?
716
55.8
57.8
2.0.
CATHERINE TO CROWN)
Yes?
717
63.2
65.14
2.12
CROWNTO CATHERINE)
SupposeI gave you ten?
(ten : ten million dollars)
718
69.2
71.21
2.0
CATHERINE TO CROWN)
Tofail?
(asking if Crownis offering the ten
million dollars as a payment
for her
failing to find the painting)
719 83.6
85.8/
2.2
CATHERINE TO CROWN)
HowwouldI hide it?
(it : the ten million dollars)
720 86.0
88.4
2.4
CROWNTO CATHERINE)
Id teachyou.
(teach you : i.e., teach you howto
hide your assets)
(Catherine eyes Crown)
61-15
SCENE3 - MFS- LOOKINGUP PAST
CATHERINE, RFG, TO CROWN
AS HE TURNS
TO HER. CROWN
SupposeI gave you ten?
CATHERINE
67-02
SCENE4 - Mcs o CATHERINECHUCKLES,
THEN TURNSLFG TO O.S. CROWN.
CATHERINE
To fail?
71-04
SCENE5 - MCS- LOOKINGUP PAST
CATHERINESHAT, TIPPED IN RFG, TO
CROWNAS HE NODS.
76-04
SCENE6 - MCSo CATHERINETURNSL AWAY
FROMO.S. CROWNAND THINKS FOR A
MOMENT,THEN LOOKSAT HIM AGAIN.
CATHERINE
Howwould I hide it?
85-10
CATHERINESHAT, TIPPED IN RFG, TO
CROWN.
CROWN
Id teachyou.
90-03
(5AB- 218)
R/SABPI3
TITLE
NO.
SCENE8 - MCS- CATHERINELOOKSAWAY

721
AND THINKS SOME MOREAS CAMERA
SLOWLYDOLLIES IN ON HER. SHE PUTS
HER HANDSBEHIND HER HEAD, THEN LOOKS
UP LFG AT O.S. CROWN
AGAIN.
MASTER
ENGLISHSUBTITLF.JSPOI-FING
LIST
104.0
108.10 4.10
CATHERINE
Youreally think theres happy-ever-afterfor
peoplelike us?
111-12
722 116.10
119.14
3.4
DISSOLVETO:
NIGHTo FS - A SMALLLAMPANDA BOTTLE
OF BEER ARE SET ON SOMEBOOKSON THE
FLOORBESIDE THE BED, WHICHIS
PARTIALLY HIDDEN INSIDE MOSQUITO
NETTING, L. CROWN
IS LYING ON THE EDGE
OF THE BED WITH CATHERINELYING ON TOP
OF HIM, BOTH OF THEM NAKED. CAMERA
SLOWLYDOLLIES IN AS cROWNREACHES
FOR THE BOTTLEOF BEER.
CATHERINE
So, just howbig of a thief are you?
120.8
123.6
2.14
CROWNTO CATHERINE)
If youcountWall Street...
(count : i.e., include mydealings on)
(Wall Street : street in NewYork City
whichis the site of the NewYork Stock
Exchange
- usedcolloquially to refer to
the influential financial interests of the
. U.S. economy)
724
126.8
128.8
2.0
CROWNTO CATHERINE)
...pretty big.
(meaning that Crownengagesin many
underhandedor dubious stock or
corporate undertakings)
725
135.6
137.10
2.4
CROWNTO CATHERINE)
If you mean
art...
(art : with regardto stealing art)
726
142.10
145.2
2.8
CROWNTO CATHERINE)
...Im just an amateur.
727
147.6
150.2
2.12
CATHERINE TO CROWN)
Beginners luck, huh?
(Beginners luck : term used to
describe goodfortune that comesto a
personinexperiencedat a particular
endeavor)
(i.e., Your successfullystealing
Monetwasjust beginners luck, huh?)
CROWN
(contd)
(drinks) (grunts) If you mean
art, Im just
amateur.
CATHERINE
Oh, beginners luck, huh?Gentlemanjockey
wins the Derby.
CAMERAHOLDS ON CROWNAND CATHERINE
IN MS.
CROWN
Something
like that..
CATHERINE TO CROWN)
So just howbig a thief are you?
(it is night o CatherineandCrownare
lying together in bed)
723
CROWN
Well, if you countWall Street, pretty big.
CROWN
TAKES A SIP OF BEER AND SETS
THE BOTTLE DOWN.
CATHERINE TO CROWN)
Youthink theres h~ppyendingfor
peoplelike us?
(." happyending: colloquial for, a
happyfuture existence - usually
referring to a happy,committedlove
relationship)
(5AB- 219)
R/5AB PI4
TITLE
NO.
728
MASTER
LIST
151.10
155.10 4.0
....
729
156.14 159.6
2.8
CATHEr~INE TO CROWN)
Gentlemanjockey wins the Derby.
(Gentleman jockey : manof
independent meanswho engagesin
the ,professiont,~ beinga jockey not for
gain, but for his ownamusement
or
interest)
(Derby : horse race for three-year-old
horses that is run annually at Epsom
Downsnear London, England)
(dryly comparingan inexperienced
jockey winning a major race like the
Derby to the supposedlyinexperienced
[in the areaof art theft] Crownstealing
the Monet)
CROWNTO CATHERINE)
Something
like that.
(5AB- 220)
"THE THOMASCROWN
AFFAIR"
R/5AB PI5
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"IINGLIST
CATHERINE
Well, you got your handcaught in the cookie jar.
730 167.0
171.0
4.0
now. Howre you gonnaget out of it?

CROWN
(chucklesruefully) Its just a game,love.
174.14 2.8
731
172.6
732
178.10
733
183.10 186.0
2.6
CROWNTO CATHERINE)
Just a game.
734
202.14
204.14
2.0
MCCANN
Nicetan.
(i.e., You havea nice suntan.)
(the next day, Catherineis backin the
squad room- McCann
steps up to her)
735
206.2
208.14
2.12
CATHERINETO MCCANN)
I wentto the beach.
736
209.6
211.6
2.0
MCCANNTO CATHERINE)
Onthe job?
(i.e., As part of your job? - As part of
the job of observingCrown?)
737
212.14
214.6/
738
215.10
739
219.6
226.14/ 7.8
(over sceneend)
(whispering) Just a game.

188-09
DISSOLVETO:
181.10
3.0
SCENE10 - INT. POLICESTATION/LUNCH

ROOM- DAY - MCS- CATHERINESHANDS
SQUEEZETHE REMNANTSOF A TEA BAG
INTO HERCUP.
CAMERATILTS UP TO REVEAL CATHERINE
SEATEDAT THE TABLE AS MCCANN(TORSO)
WALKSUP BEHIND HER WITH A MANILA
ENVELOPE.HE STOPS R AND PLOPS IT
DOWNIN FRONTOF HER.
MCCANN
(face off)
Nice tan.
CATHERINE
Thanks. Wentto the beach a couple days.
CATHERINEPICKS UP HER CUP OF TEA AND
SIPSIT.
MCCANN
(face off)
On the job?
CATHERINE
(overlapping)
(drinks) Thats right.
214-08
CATHERINE,TIPPED IN LFG, TO MCCANN
STANDING OVERHER.
MCCANN
Anddid you, uh, pick anything up?
CATHERINE
Well, hes got an orname-...
221-15
CATHERINE TO CROWN)
Yougot your handcaugh;in the cookie jar.
(colk,~uial expressiondescribing
someonebeing caught in the act of
doing somethingwrong)
219.2
1.8
3.8
CATHERINE TO CROWN)
Howwill you get out of it?
(i.e., Howwill you escapeunpunished
for this crime?)
CROWNTO CATHERINE)
Its just a game,love.
(It : Theentire endeavorof his
stealing art)
CATHERINETO MCCANN)
Thats right.
MCCANNTO CATHERINE)
Did you pick anything up?
(pick anythingup : colloquial for,
obtain any useful information)
CATHERINETO MCCANN)
He has an ornamentworn by Frederick
Barbarossaat his coronation in 1152.
(He : Crown)
(Frederick Barbarossa: nameof
Frederick I, Germanking and Holy
Romanemperor from 1152 to 1190)
(5AB- 221)
R/5AB P/7
TITLE
NO.
MASTER
LIST
SCENE17 - LOOKINGUP PAST CATHERINE,

TIPPED IN LFG, TO MCCANN.
MCCANN
(smackslips) Wouldyou like to knowwhere
745
249.10
253.4/
3.10
MCCANN
TO CATHERII~.--)
Wantto knowwhere he was the night
before you left?
746
254.14
259.2
4.4
MCCANNTO CATHERINE)
Or after heleft youlast night?
(Catherine gives McCann
a long look)
747
265.6
267.6/
2.0
CATHERINETO MCCANN)
Notreally.
748
270.2
273.6
3.4
MCCANNTO CATHERINE)
Okay.Suit yourself.
(Suit yourself : i.e., Do whatyou
want - Do whatyou think best)
(McCannturns to go)
749
276.2
277.14
1.12
CATHERINETO MCCANN)
Michael.
(McCannturns back and hands
Catherinethe envelope- inside are a
numberof surveillance photosof
Crownwith Anna)
wasthe night before you left?

253-06
SCENE18 - MCS- PAST MCCANNSTORSO,
TIPPED IN RFG, TO CATHERINE.
MCCANN
(face off)
Uh, or after heleft youlast night?
CATHERINEPAUSESA MOMENT,TRYING TO
HIDE HER DISMAY.
CATHERINE
Notreally.
267-08
CATHERINE,TIPPED IN LFG, TO MCCANN
AS
HE STANDSUP STRAIGHT AND TURNSAWAY
FROMHER, CAMERA
TILTING UP WITH HIM.
MCCANN
Okay, suityourself. (sighs)
MCCANNSTARTS TO WALK AWAYWITH THE
ENVELOPE.
CATHERINE
Michael.
MCCANNSTOPS AND LOOKS BACK AT
CATHERINE.
279-00
SCENE20 - MCS- CATHERINEBECKONS
TO
O.S. MCCANN.
282-07
SCENE21 - MS - LOOKINGUP PAST
CATHERINE,TIPPED IN LFG, TO MCCANNAS
HE WALKSBACK TO CATHERINEAND
STARTS TO HAND HER THE ENVELOPE.
287-15
(5AB- 223)
R/5AB PI6
COMBINED
TITLE
NO.
MASTERENGLISHSUBTiLE/SPOTTINGLIST
740 (OUT)
CATHERINE
...ont wornby Frederick Barbarossaat his
coronationin elevenfifty-t-...
226-14
CATHERINE,TIPPED IN LFG, TO MCCANN.
CATHERINE
...-WO.
MCCANN
Really?
741
227.14
231.6/
3.8
742
234.10
236.2
1.8
No.
743
237.2
243.2
(over sceneend)
6.0
MCCANNTO CATHERINE)
Sothats it, after two daysandtwo nights?
(it : all you learned)
(two days and two nights : spending
two days and two nights with Crown)
744
245.4
2.0
CATHERINETO MCCANN)
Thatsit.
(McCannis holding a manila envelope)
CATHERINE
Yeah.
MCCANNTO CATHERINE)
Really? Stolen?
(Stolen : A stolen ornament)
MCCANN
Stolen?
231-08
TIPPED IN RFG, TO CATHERINEAS SHE
GRINS.
CATHERINE
No.
MCCANN
(face off)
So, thats it, huh, after twodaysa-...
240-03
MCCANN
...-ndtwonights?
243-12
SCENE16-MCS-PAST MCCANNS TORSO,
TIPPEDIN RFG, TO CATHERINE,
CATHERINE
Thatwasit.
247-06
247.4/
(5AB- 222)
"THE THOMASCROWN
AFFAIR"
R/5AB P/8
TITLE
NO.
MASTERENGLISHSUBTITL~SPOITINGLIST
SCENE22 o MCS CATHERINETAKESTHE

ENVELOPEFROM MCCANNAS HIS TORSO
TIPS IN RFG. SHE OPENSIT AND PULLS OUT
SOME PHOTOGRAPHS.
296-04
SCENE23 MCS LOOKINGUP PAST
CATHERINE,TIPPED. IN LFG, TO MCCANN
AS
HE WATCHESHER TAKE OUT THE PHOTOS.
300-00
SCENE24 - CS o CATHERINELOOKS
THROUGHTHE PHOTOGRAPHS,SHAKING
HER HEADWITH A RUEFULSMILE.
CATHERINE
Oh, shes, um...
750
306.14 308.6/
751
319.2
752
323.6
329.14/
(over sceneend)
1.8
CATHERINETO MCCANN)(stunned)
Shes,urn...
(She : The womanin the picture)
2.0
...striking.
(striking : very beautiful)
6.8
MCCANNTO CATHERINE)
He seemsto think so. Three dates in six
days.
(He : Crown)
(Three : Theyve had three)
(Catherinetries to keepher
composure)
308-10
SCENE25 - CS - CATHERINESHANDSFLIP
THROUGHTHE PHOTOS, WHICH SHOW
CROWNTALKING WITH ANNAIN FRONTOF A
SHOP WINDOW.
315-02
SCENE26-CS-CATHERINE
AT THE O.S. PHOTOS.
STARES DOWN
CATHERINE
(smackslips)...striking.
321.2
MCCANN
(oft)
He seemsto think so. Three dates...
CATHERINELOOKSR AT O.S. MCCANN.
326-09
MCCANN
...in six days.
330-00
CLUMSILY TRIES TO SHOVETHE PHOTOS
BACK INTO THE ENVELOPE.SHE GIVES UP,
CLEARLYDISTRESSED,AND HANDSIT ALL
BACK TO MCCANN.
338-12
(5AB- 224)
~5AB PI9
TITLE
NO.
MASTER
LIST

CATHERINE,TIPPED IN LFG, TO MCCANNAS
HE TAKES THE ENVELOPEAND PHOTOSAND
STANDSUP STRAIGHT, CAMERATILTING UP
WITH HIM. CATHERINEREACHESR FOR HER
O.S. PURSE.
CATHERINE
Well...
346-06
TIPPED IN RFG, TO CATHERINEAS SHE PUTS
HER THINGSBACK IN HER PURSE.
CATHERINE
...wheredoeshefindthetime?
753
347.2
350.6
3.4
754
368.14
370.14 2.0
MCCANNTO CATHERINE)
You okay?
755
371.6
373.2
1.12
CATHERINETOMCCANN)
(grimly)
Yeah.
756
377.10
380.6
2.12
MCCANNTO CATHERINE)
You know, I was okay once.
(okay : note that McCann
is dryly
using this [a referenceto his question
in Title #754]to refer to Catherines
actually being very upset at Crowns
supposedbetrayal)
(note that McCann
and Catherine are
at a diner counter)
CATHERINEPICKS UP HER PURSEAND

STANDSUP, CAMERA
CATHERINE
TO MCCANN)(mildly)
Wheredoes he find the time?
(Catherinecollects her things and
starts to walk out of the squadroom)
CATHERINE
(contd)
(exhales)
CATHERINE MAKES HER WAY THROUGHTHE
LUNCHROOMAND WALKSOUT INTO THE
HALLWAY, CAMERAMOVING BACK WITH
HER. AS SHE WALKSFG DOWNTHE HALL,
MCCANNPOKESHIS HEAD OUT THE DOOR
OF THE LUNCHROOMIN BG.
MCCANN
You okay?
CATHERINE
Yeah.
CATHERINETURNSAND EXITS R AS CAMERA
HOLDSON THE EMPTYHALL.
376-05
SCENE31-1NT. DINER-DAY-MS-MCCANN
APPROACHES
AS CAMERADOLLIES L
ACROSSTHE COUNTERTO REVEAL
CATHERINESEATEDATITIN LFG.
MCCANN
(chewinggum) Youknow, lwasokayonce.
MCCANNSITS DOWNBESIDE CATHERINEAS
CAMERAHOLDSIN MCS.
(5AB- 225)
"THE THOMASCROWN
AFFAIR"
R/5AB PI10
COMBINED
TITLE
NO.
LIST
MCCANN
(contd)
Mygirlfriend, uh, got drunk. Stayedout all night,
757
386.2
389.10 3.8
MCCANNTO CATHERINE)
Mygirlfriend got drunk.
758
390.6
395.14 5.8
MCCANNTO CATHERINE)
Shestayed out all night and cameback in
the morningmarried.
MCCANN
(overlapping)
(chewing gum) Yeah. I told people I didnt care, 759
402.6
406.14 4.8
MCCANNTO CATHERINE)
I told peopleI didnt care, andthen...
760
408.2
414.10 6.8
MCCANNTO CATHERINE)
...I fucked five women
in three days, flipped
mycar on an on-ramp...
(fucked : vulgar slang for, had sex
with)
(flipped : overturned)
(on-ramp : ramp by which one enters
a limited accesshighway)
761
416.2
421.2
5.0
MCCANNTO CATHERINE)
...beat a suspect unconsciousand got
suspended.
(suspended: temporarily relieved
from duty for misbehavior)
762
421.14 425.14
(over sceneend)
4.0
MCCANNTO CATHERINE)
But...I wasokay.
(dryly meaningthat he waspretending
he wasfine, whenhe wasclearly
upset)
763
429.2
431.101 2.8
CATHERINETO MCCANN)
Is there a point to this story?
(point : purpose)
(McCannglares at Catherine and
exits - a short while later, McCann
and
Paretti are talking in the squadroom
whenCatherine tosses McCannan
envelope)
cameback in the morning...married.

CATHERINE
(chuckles)
andthen I fucked five women

in three days,
flipped mycar on an on-ramp,(smackslips) beat
a suspect unconscious, got suspended.But, um,
I waso-...
424-14
SCENE32 - CS - CATHERINESTARESDOWN
IRRITABLY.
MCCANN
(off)
.,.-kay.
CATHERINE
Is there a point to this story?
431-11
SCENE33 - MCS- PASTCATHERINE,LFG, TO
MCCANNAS HE GETS UP FROMHIS STOOL
AND STARTS TO WALK BG AWAYFROMHER.
440-07
SCENE34 - INT. POLICESTATIONHALLWAY
DAY - MS - LOOKINGTHROUGH
THE
DOORWAY
OF MCCANNSOFFICE TO
PARETTI, SEATEDINSIDE, ANDMCCANNS
TORSOTIPPED IN R BESIDEHIM, AS
CATHERINE(TORSO) ENTERSTHE OFFICE
AND INTERRUPTSTHEIR CONVERSATION.
PARETTI
No, no, they both had to comeout of the same
building.
(5AB- 226)
"THE THOMASCROWN
AFFAIR".
R/5ABPlll
TITLE
NO.
LIST
MCCANN
(overlal~ping)
Right, but he waswith h-...
444-01
OFFICE- DAY - MCS- CATHERINESHAND
TOSSESA SMALL ENVELOPEINTO
MCCANNSLAP.
MCCANN
(face off)
...-im.
CAMERATILTS UP TO MCCANNSFACE AS
HE PICKS UP THE ENVELOPE.
MCCANN
(contd)
(to Catherine)VVhatsthis?
764
445.10
447.10
2.0
MCCANNTO CATHERINE)
VVhatsthis?
(this : in this envelope)
765
448.0
450.4/
2.4
CATHERINETO MCCANN)
Photosof the Monetsborders.
766
451.14
453.10
1.12
767
454.0
461.41
(over sceneend)
7.4
CAMERAPANS R, OFF MCCANN,TO REVEAL

CATHERINE.WALKING BACK OUT THE DOOR.
CATHERINE
Photosof the borders of the Monet.
CATHERINESTOPS IN THE DOORWAY.
450-06
SCENE36-MCS-MCCANNTURNSAND
LOOKSRFG AT O.S. CATHERINE,CONFUSED.
PARETTIIS SEATEDINLBGo.
MCCANN
Theborders?
CATHERINE(o~
Be~reinsure~...
MCCANNTO CATHERINE)
Borders?
(McCannopens the envelope - inside
is a strip of negatives)
455-03
SCENE37 - MCS- CATHERINE,STANDINGIN
THE DOORWAY,STARESOFF L.
CATHERINETO MCCANN)
When
a paintings insured, its removed
from
the frameandits bordersare photographed.
CATHERINE
...-s indemnifya painting, they removeit from the
frame and photographthe borders.
461-05
(SAB- 227)
"THE THOMASCROWNAFFAIR" 1~SAB PI12

TITLE
NO.
LIST
SCENE38 - MCS- MCCANNSHANDTAKES

SOMEROLLS OF NEGATIVE OUT OF THE
ENVELOPE,THEN RAISES THEMUP TO THE
LIGHT AS CAMERATILTS UP WITH THEMTO
INCLUDEHIS FACE.
CATHERINE
(off)
Bordersare never seen in galleries or auctions,
768
462.14
468.10/
769
/469.0
473.0/
770
473.6
476.2
2.12
MCCANNTO CATHERINE)
Andif the borders do match?
771
476.10
480.10
4.0
CATHERINETO MCCANN)
Theforger sawthe original painting.
772
481.2
485.6
4.4
MCCANNTO CATHERINE)
Soif CrownsprankMonetis too good....
(prank :joke)
(good: accurate- identical to the
original)
(i.e., So if borderson Crownsforged
Monetmatch the borders on the
original painting)
773
485.14 491.6
5.8
(over sceneend)
5.12
so if a pictures stolen andsomeone

tries...
Bordersare never seen,so if a pictures
stolen and...
(picture : painting)
488-14
THE DOORWAY,STARESOFF L.
CATHERINE
..to passoff a forgery, the borderswont match.
473-00
4.0
...a forgerys made,the borderswont
match.
SCENE40 - MCS- MCCANNHANDSTHE

NEGATIVEBACK TO. PARETTI AND GLANCES
BACKRFG AT O.S. CATHERINE.
MCCANN
Andif the borders do happento match?
CATHERINE
(off)
Thenthe forger wasin the presenceof the
original painting.
MCCANNRAISES SOME MORENEGATIVES
INTO FRAMEAND GIVES THEMA GLANCE.
MCCANN
So, if Crowns prank Monethappensto be too
good....
CATHERINE
(off)
Well, then wefind the for-...
487-11
THE DOORWAY,
TURNSLFG TO O.S.
MCCANN.
CATHERINE
...ogerandnailthebastard.
Thenwe find the forger and nail the
bastard.
(nail: slang for, apprehend)
(the bastard : referring to Crown)
(5AB- 228)
R/SABPI13
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOTFING
LIST
CATHERINETURNSAND WALKS OUT THE
DOORAND ACROSSTHE HALL INTO THE
SQUADROOM, CAMERATILTING DOWNWITH
HER.
MCCANN
(off)
Howlong have you had these?
774
492.2
495.4/
775
495.12
497.12/ 2.0
MCCANNTO CATHERINE)
Andyou didnt open them?
776
498.2
501.2
3.0
Well, theyre opennow.
777
527.0
529.0
2.0
CATHERINE TO CROWN)
Its beautiful.
(It : i.e., The necklace)
(note that it is nowevening- Crown
and Catherineare having dinner in an
expensiverestaurant o Catherine has
openedup a gift box from Crowninside is a necklace)
778
529.4
531.12/ 2.8
3.2
CATHERINE
Five days.
495-05

-Howlong have you had these?
-5 days.
(these : these photographsof the
borders)
SCENE42 - MCS- MCCANNSTANDSUP AND

CALLS RFG AFTERO.S. CATHERINE.
MCCANN
Andyoudidntopenem?
497-13
SCENE43 - MS - PAST MCCANNSToRso,
TIPPED IN LFG, AND THROUGH
THE
DOORWAY
TO CATHERINE AS SHE WALKS
BG THROUGHTHE BUSY SQUADROOM.
CATHERINE
Yeah,well, theyre opennow.
502-14
SCENE44 - INT. CAFEDES ARTISTES- NIGHT
- MS - CAMERADOLLIES R PAST SEVERAL
TABLES OF RESTAURANTPATRONS.
PEOPLE IN RESTAURANT
(lowandindistinct jovial chatter - continues
CAMERAPANS R TO REVEAL CROWNAND
CATHERINESEATEDAT A TABLE IN BACK,
HAVING THEIR COFFEE. CAMERASLOWLY
DOLLIES IN ON THEM, MOVINGL AROUND
CROWNAND TILTING DOWNTO THE TABLE
TO REVEALTHAT CATHERINEIS LOOKINGAT
AN EXPENSIVEDIAMONDNECKLACEIN A
GIFT BOX.
CATHERINE
(face off)
Its beautiful.
CROWN
(face off)
Youre not gonnasay...
531-13
CROWNTO CATHERINE)
Yourenot goingto say...
(5AB- 229)
R/SABPI14
TITLE
NO.
MASTER
SCENE45 - MCS- CAMERASLOWLYDOLLIES

L AROUNDCROWN
AS HE LOOKSL AT O.S.
CATHERINE.
CROWN
..."1 couldnt possibly"?
779
532.2
534.14 2.12
CROWNTO CATHERINE)
..."1 couldnt possibly"?
(couldnt : couldnt acceptthis gift)
780 535.6
536.14
1.8
CATHERINE TO CROWN)
No.
781
/537.10
539.4
1.10
CATHERINE TO CROWN)
I, uh...
782
540.14 544.6
783
556.10 561.12
(over scene end)
5.2
CROWNTO CATHERINE)
Shesan old friend, but its like having
dinner in a morgue.
(She : refe.rring to someunspecified
person)
(it : dining at the womans
house)
(Crownand Catherine are now being
driven homein Crownscar Catherine, distracted, stares out the
window)
784
562.3
6.0
CROWNTO CATHERINE)
I might be able to bear it if you camewith
me.
(bear it : i.e., enduredinnerwith this
woman)
CATHERINE
(off)
No...
537-08
SCENE45 - MCS- CATHERINESTARESDOWN
AT THE NECKLACEAS CAMERASLOWLY
DOLLIESIN ON HER.
CATHERINE
...I, uh, I wouldntsayanythingthat boring.
545-06
3.8
SCENE47 - CS - CATHERINESHAND
FINGERSTHE NECKLACE.
CATHERINE TO CROWN)
...wouldnt say anythingthat boring.
549-14
SCENE48 - EXT. PARKAVENUE
- NIGHT- FS CROWNSLIMOUSINE TURNSAROUNDA
CORNERAND MOVESLFG DOWNTHE
STREET, CAMERAMOVINGBACK WITH IT. IT
EXITS LFG.
CROWN
(voice over)
Shesanold friend...
557-15
SCENE49 - INT. LIMOUSINE
o NIGHT- CS CATHERINEIS PRESSEDAGAINST THE
WINDOW,STARING OUTSIDE. CROWNIS
OUT OF FOCUSAT THE OPPOSITEEND OF
THE SEAT IN BG.
CROWN
...but itll
be like havingdinner at a morgue.But
you know,it occurredto me, I might be able to

bear it if you camewith me.
568.3
CROWNTURNS TO CATHERINE. SHE

RESPONDS
WITHOUTLOOKINGAT HIM.
(5AB- 230)
~HE THOMAS
CROWN
AFFAIR" ~ R/SAB Pit5
COMBINED
TITLE
NO.
MASTER
CATHERINE
Tomorrow?Thats so soon.
785
571.7
575.11
786
578.7
581.3
787
582.7
584.3
1.12
CATHERINE TO CROWN)
No.
788
588.7
593.7
5.0
CROWNTO CATHERINE)
Do you find my companymonotonous?
(Catherinesays, No)
789
595.15
598.7/
2.8
CROWNTO CATHERINE)
Id hate to think youcould.
790
602.1
604.13 2.12
CATHERINETO CROWN)
What, be bored by you?
791
6055
607.151 2.10
CATHERINETO CROWN)
Requirea little variety?
(a pointed reference to Crownsgoing
out with Anna)
(Crownreacts)
792
615.5
617.13 2.8
CROWNTO CATHERINE)
Youre referring to Anna
793
623.9
625.15 2.6
CROWNTO CATHERINE)
They photographedmewith her.
(They : The police)
794
6265
630.13/ 4.8
CROWNTO CATHERINE)
-Thats your prerogative.
-I thoughtthey were.
(That : Seeing other women)
(they were : the police were
photographing me)
CROWN
I sensehesitation.
CATHERINE
No. No.
CROWNSCOOTSA LITTLE CLOSERTO
CATHERINE.
4.4 CATHERINE TO CROWN)
Tomorrow?Thats so soon.
(That : Makinganother date with you
for tomorrow)
2.12
CROWN
Do you, do you find my companymonotonous?
CATHERINE
(chuckles) No.
CROWN
Because
Id hate to think you could
598-08
CROWNTO CATHERINE)
I sensehesitation.
SCENE50 - MCS- CATHERINETURNSR TO

O,S. CROWN.
CATHERINE
What,be bored by you? Requirea litt~le
variety?
608-00

LOOKSL AT O.S.
CATHERINEAS IF ABOUTTO SPEAK.
FINALLY, HE TURNSAWAYFROMHER.
CROWN
Youre referring to Anna. (chuckles ~ continues
under following scene)
621-09
AWAYFROM O.S. CROWN.
CROWN
(off)
They photographedme with Anna.
CATHERINE
Youknow,thats your prerogative.
CROWN
(off)
I thought they were
630-15
(5AB- 231)
R/SABPI16
TITLE
NO.
LIST

STARESOFF RFG.
CROVVN
I let it happen. Youwannaknowwhy?
795
631.9
634.1
2.8
CROWNTO CATHERINE)
Iletitkappen.
(Catherine keepsstaring outthe
window)
796
636.3
638.31
2.0

CATHERINETO CROWN)
-Want to know why?
-No.
797
/638.7
640.11
2.4

CATHERINE TO CROWN)
-I11 tell you.
-Dont.
798
640.15
644.13/ 3.14

CATHERINE TO CROWN)
-I wantto tell you.
-I dont wantto know.
799
645.3
647.13
2.10
CATHERINETO DRIVER)
Jimmy,Id like to get out.
(out : out of the car)
800
648.3
650.3/
2.0
CROWNTO DRIVER, THEN

CATHERINETO DRIVER)
-Keepdriving.
-Stop!
(the Driver pulls to the side of the road
andCatherinegets out of the car Crownfollows her)
CATHERINE
(off) (overlapping)
No,I do-...
CROWNSTARTSTURNINGL TO O.S.
CATHERINE.
638-05
SCENE64 - MCS- PASTCATHERINE,
PRESSEDAGAINST THE WINDOWIN LFG, TO
CROWNAS HE TURNSTO HER.
CATHERINE
...ont.
CROWN
Ill tell youwhy.
CATHERINE
I dont wannaknowwhy.
CROWN
I wannatell you why.
CATHERINE
(overlapping)
You know what? I dont wannaknow why.
644-13
SCENE56 - MCS- CATHERINECALLS OUT
RFGTO THE O.S. DRIVER.
CATHERINE
Jimmy,Id like to get out.
CROWN
(off)
Jimmy,keep driving.
CATHERINE
(overlapping)
Jimmy,could you stop?!
650-04
(5AB- 232)
"THE THOMAS
CROWN
AFFAIR"
R/5AB P117
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"FING
LIST
SCENE56 - EXT. CENTRAL

PARK- NIGHTMLS - LOOKINGDOWNA LEAF-STREWN
SLOPE TO A ROADLEADING THROUGHTHE
PARK AS THE LIMOUSINE PULLS OVERTO
THE CURB.
CATHERINE
(shouting) I dont wannaknowwhy!
801
651.15
655.15
4.0
CROWNTO CATHERINE)
-I dont wantto knowwhy!
-Let metell you!
802
661.13 666.1
4.4

CATHERINE TO CROWN)
-Ask mewhyl
-I dont wantto know!
803
666.7
804
668.5
805
671.15 674.1
806
674.7
678.7
4.0
CATHERINE)
(exclaiming)
Oh, hes sadistic! Whoknew?
(he : referring to Crownin the third
person)
807
678.13
683.9
4.12

CATHERINETO CROWN)
-Did it occur to you I neededto know?
-Knowwhat?!
808
683.15 688.3
(over sceneend)
4.4
CROWNTO CATHERINE)
Whetherall it wasto you wasthe painting.
(all it wasto you: i.e., your only
reason for spendingthe weekendwith
me)
(Catherine stops and looks at Crown)
CROWN
(overlapping)
Just let metell you why!
CATHERINE
(overlapping)
(shouting) No!
CATHERINEGETS OUT OF THE LIMOUSINE
AND STARTS WALKINGUP THE SLOPE AS
CAMERASLOWLYMOVESIN ON HER.
CROWNGETS OUT THE OPPOSITE SIDE OF
THE CAR AND STARTS TO PURSUEHER.
CROWN
Oh, sh-- (shouting) Nowask me why!
CATHERINE
(shouting) I dont wannaknow!
CROWN
(shouting) Youre upsetabout it!
CATHERINE
(shouting) Yeah,Im upset becausethats what
667.15 1.8
671.9
CROWNTO CATHERINE)
Youre upset!
3.4
CATHERINE TO CROWN)
Becauseyou wantedme to be upset!
2.2
CROWNTO CATHERINE)
I neededyou to be upset!
you wantedme to be was upset!

CROWN
(overlapping)
(shouting) I neededyou to be upset!
CATHERINE
(chuckling) Ho-ho, hes sadistic! Whoknew?
CROWN
Did it ever occur to you that I neededto know?
CATHERINE
Knowwhat?!
CATHERINEEXITS LFG AS CAMERA
CONTINUESMOVING IN ON CROWN.
CROWN
Knowwhetherall it wasto you wasthe paio...
CROWNSTOPS AS CAMERAHOLDSIN MCS.
686-10
(5AB- 233)
R/5ABP118
TITLE
NO.
MASTER
SCENE57 - MCS- CATHERINESTOPS

SUDDENLY,HER BACK TO CAMERA.
CROWN
(off)
...-nting.
692-15
LOOKSLFG AT
O.S. CATHERINE.
CROWN
Howelse could I know?
809
698.0
701.0
3.0
CROWNTO CATHERINE)
Howelse could I know?
(meaningthat his only wayof seeing
whether Catherine cared about him
personally wasto see if she got
jealous by his being with another
woman)
810
705.8
707.12
2.4
CATHERINE TO CROWN)
What about you?
(Catherine is asking whetherCrowns
interest in her is personal,or whetherit
is only becauseof her professional
pursuit of him)
811
712.2
715.0
2.14
CROWNTO CATHERINE)
I can leave here tomorrow.
(here : NewYork)
701-14
SCENE59 - MCS- CATHERINE,BACKTO
CAMERA,SLOVVLYTURNSTO LOOKBACK
OVER HER SHOULDER.
CATHERINE
What about you?
709704
DOLLIESIN ON
CROWN
AS HE LOOKSLFG AT O.S.
CATHERINE.
CROWN
I can leave here tomorrow. So can you.
719-05
SCENE61 - MCS- CATHERINESLOWLY
TURNSTO LOOKRFG AT O.S. CROWN,
REVEALINGTHAT THEREARE TEARSIN HER
EYES.
730-13
812 717.4
719.4/
2.0
CROWNTO CATHERINE)
So can you.
813
735.13
737.13 2.0
CATHERINE TO CROWN)
Wedbe fugitives.
814
738.3
740.13
CROWNTO CATHERINE)
Fugitives with means.
(means: financial resources)
STARESLFG AT
O.S. CATHERINE,WAITING FOR HER
RESPONSE.
734-10
SCENE63 - MCS- CATHERINESTARESRFG
AT OIS. CROWN,SHAKING HER HEAD
NERVOUSLY,AS CAMERASLOWLYDOLLIES
IN ON HER.
CATHERINE
Wedbe fugitives.
CROWN
(off)
Fugitives with means.
741-04
2.10
(5AB- 234)
R/SABPI19
TITLE
NO.
LOOKSLFG AT O.S.
CATHERINE.
815
741.10
816
749.1
817
752.5
818
ITAL
756.0
819
758.8
820
762.12 766.10
3.14
...and finds theres nowhere
to land.
(there.s...land : metaphor
for, there is
no safe plac~ to be - there is no way
to act on theseresponsibilities - note
that this metaphoris basedon the fact
that the character of Peter Pancould
fly)
821
768.12 773.4
4.8
Theonly sadpart is...
774.8
778.4
3.12
...if shesanythinglike you...
778.12
783.8/
4.12
...she wontknowwhatsheslost till its
gone.
(meaningthat she wont realize how
important Crownwasto her until they
have parted ways)
(Crownreacts thoughtfully to this)
LIST
744.13
3.3
CROWN
All the difference in the world.
745-04
SCENE65 - MCS- CAMERASLOWLYDOLLIES
IN ON CATHERINEAS SHE LOOKSRFG AT
O.S. CROWN,SHAKINGHERHEAD.
CATHERINE
Idontknow. Idontknow,
751.5 2.4
754.1/
1.12
CROWN
TO CATHERINE).
Makes
all the difference.
(i.e., Beinga fugitive with the financial
resourcesto support oneself is
completelydifferent from being one
without funds.)
(Catherinereacts, torn)
CATHERINE TO CROWN)
I dont know.
CATHERINE TO CROWN)
I dont know.
754-03
SCENE66- CS- CROWNSTARESLFG AT
O.S. CATHERINE.
758.0/ 2.0
PSYCHIATRIST
(voice over)
(chuckling) Oh, dear...
758-03
762.~
3.12

OFFICEDAY - MS - THE PSYCHIATRIST,SEATED
BEHINDHER DESK, LOOKSRFG AT O.S.
CROWN, OVERCOME
WITH LAUGHTER.
PSYCHIATRIST
(chuckling) ...Peter Pandecides to grow up and
finds theres no place to land. (laughs
continues under following scene)
767-04
SCENE68- MCS- CROWNIS STANDINGAND
LOOKINGDOWNL, NOT AMUSED.
PSYCHIATRIST
(off)
(chuckling) Theonly sad part is...
774-01
SCENE69 - MCS- THE PSYCHIATRISTLOOKS 822
RFG AT O.S. CROWN
AND POINTS
TEASINGLY.
PSYCHIATRIST
(chuckling) ...if shes anythinglike you, shewont
knowwhatshes lost until its gone.
783-09
823
PSYCHIATRIST)
(laughing) (voice over)
Oh, dear.
(note that Crownis meetingwith the
Psychiatrist, whois laughing
hysterically)
PSYCHIATRIST TO cROWN)
Peter Pandecidesto growup...
(Peter Pan: boy in Sir JamesBarries
play "Peter Pan" wholives without
growing older in a NeverLand- see
Title #192o usedcolloquially to
describe any adult [here, Crown]who
refuses to acceptadult responsibilities)
(SAB- 235)
"THE THOMASCROWNAFFAIR" R/SAB PI20

COMBINED
TITLE
NO.
MASTER

LOOKSUP,
STRUCKBY THE THOUGHT,AS CAMERA
SLOWLYDOLLIES IN ON HIM. HE SLOWLY
TURNSTO LOOKLFG AT THE O.S.
PSYCHIATRIST.
792-05
SCENE71 - INT. POLICESTATION/SQUAD
ROOMo DAY - MFSo MCCANNANDPARETTI
WALK LFG ACROSSTHE BUSY SQUADROOM
AS CAMERADOLLIES IN ON THEM. MCCANN
NODSTO O.S. CATHERINE.
(low and indistinct chatter continuesunder
MCCANN
Hey,lets go.
824
793.14
796.2
2.4
825
796.14
798.10
1.12
826
799.0
801.12/ 2.12
MCCANNTO CATHERINE)
The borders matchedperfectly.
(borders : bordersof the falsified
Monetand the real Monet)
827
802.10
808.6
5.12
MCCANNTO CATHERINE)
Thenagain, Im sure you knewthat, didnt
you?
828
809.2
812.2
3.0
MCCANNTO CATHERINE)
Lets go meetsomeforgers.
(first, they go to the home
of Frederick
Golchan,an art forger - they showhim
the fake Monet)
829
812.10 815.14
(over scene end)
3.4
GOLCHANTO CATHERINE & MCCANN)

I wasnever an Impressionist.
(meaningthat he never forged
Impressionist works)
CAMERAPANS L WITH MCCANNAND

PARETTI TO REVEALCATHERINEAS THE
TWOMEN WALK PAST HER.
CATHERINE
Where?
MCCANNTO CATHERINE)
Lets go.
(whenCatherinereturns to the police
station, McCann
is about to leave)
CATHERINETO MCCANN)
Where?
CAMERAHOLDSPAST CATHERINE, LFG, TO

MCCANNAND PARETTI AS THEY STOP AND
TURNBACK TO HER.
MCCANN
Thepaintings borders matchperfectly.
801-14
SCENE72 - MCS- PASTCATHERINE,LFG, TO
MCCANNAND PARETTI.
MCCANN
Thenagain, lm sureyouknewthat, didntyou?
Comeon. Lets go meet someforgers.
(chuckling) Comeon.
MCCANNAND PARETTI TURN AND WALK
RBG.
GOLCHAN
(voice over)
I wasnever an Im-...
813-15
(5AB- 236)
"THE THOMASCROWNAFFAIR" R~5AB PI21

coMBINEDCONTINUITY& DIALOGUE
SCENE73 - INT. GOLCHANS
HOUSE- DAY MCS- PAST MCCANN,TIPPED IN RFG, TO AN
ART FORGERNAMEDGOLCHANAS HE
TURNS TO MCCANN.A WOMANIS SEATED
AT THE FAR END OF THE ROOMIN BG.
TITLE
NO..
830
LIST
816.6
831 820.14
820.6
823.6
4,0
2.8
GOLCHAN
...-pressionist. Anyway,I pay taxes now.
823.14 830.14
(over sceneend)
7.0
GOLCHANTO MCCANN)
Portraits. Inserting the rich into old
masterpieces.
(the rich : i.e., likeness of wealthy
people)
833
831.6
834.14
3.8
CATHERINE
TO GOLCHAN)
(dryly)
The wifes face on the MonaLisa.
(Mona Lisa : extremely famous
portrait by Leonardoda Vinci, nowon
display in the Louvre)
(meaningthat an exampleof what
Golchandoes is makinga copy of the
MonaLisa with the likeness of a
wealthy manswifes face in place of
the MonaLisas face)
834
/836.2
842.10
6.8
GOLCHANTO CATHERINE)
Brooklyn to Greenwichin one generation-you needthe paintings to match.
(Brooklyn : one of the five boroughs
of NewYork City, on southwestern
LongIsland - a lower middle-class and
middle-classarea - i.e., Movingfrom
Brooklyn)
(Greenwich : Greenwich, Connecticut,
a wealthy community)
(match: i.e., reflect that upward
transition)
(dryly meaningthat the newlyrich think
that such altered masterpiecesreflect
their neweconomicstatus, when
actually they are merelytacky)
835
843.2
836
848.2
849.14
1.12
=
GOLCHANTO MCCANN)
The German.
837
851.14
853.14
2.0
GOLCHAN)
(thinking)
Heinrich...
838
854.10
856.10
GOLCHAN
Portraits. Inserting the rich into old master-...
82904
SCENE74 - MCS- PASTPARETTIS BACK,
TIPPED IN RFG, TO CATHERINESTANDING
BEHIND HIM. SHE SMILES KNOWINGLYAND
LOOKSR AT O.S. GOLCHAN.
GOLCHAN
(off)
...-pieces.
CATHERINE
The wifes face on the MonaLisa.
GOLCHAN
(off)
Hey...
836-00
SCENE75 - MCS- PAST MCCANNS
SHOULDER,TIPPED IN RFG, TO GOLCHAN
AS
HE LOOKSLFG AT O.S. CATHERINE.THE
MAID SERVESTHE WOMANTEA IN BG AND
THENEXITS R.
GOLCHAN
...from Brooklynto Greenwichin onegeneration.
845.14 2.12
Youvegotta have the paintings to match.

MCCANN
(face off)
So, uh, whodid it?
GOLCHANTURNS R TO MCCANN.
GOLCHAN
The German.Heinrich...
GOLCHAN
TURNSLFG TO O.S. CATHERINE.
CATHERINE
(off)
...Knutzhorn.
MCCANNTO GOLCNAN)
Doing what?
832
MCCANN
Doing what?
A MAID ENTERS R AND APPROACHES
THE
WOMANIN
GOLCHANTO CATHERINE & MCCANN)

Anyway.I pay taxes now.
(meaningthat he has legal
employment)
2.0
MCCANNTO GOLCHAN)
So, whodid it?
(did it : forged this Monet)
(Golchanthinks)
CATHERINETO GOLCHAN)
...Knutzhorn.
(McCannlooks at Catherine with
surprise)
(5AB- 237)
"THE THOMASCROWN
AFFAIR"
R/5AB PI22
TITLE
NO,
MASTER
ENGLISHSUBTITLFJSPOITINGLIST
CAMERAPANS R TO FULLY INCLUDE
MCCANNAS HE TURNSTO LOOK BACK AT
O.S. CATHERINE.
860-09
SCENE76 - MCS- PASTPARETTIS BACK,
LOOKSRFG AT O.S. MCCANN.
CATHERINE
Arts a small world, Michael.
839
862.10
865.10 310
Arts a small world, Michael.
(colloquially meaningthat the
social/professionalsphereof artists, art
experts, etc., is small andthat these
people all knoweach other)
(Catherine and McCann
then go to
minimumsecurity prison to meetwith
Heinrich Knutzhorn, an older manthey showhim the fake Monet)
840
/866.2
869.2
3.0
MCCANNTO KNUTZHORN)
VVhodo you think did this?
(did this : forged this Monet)
841
882.2
885.2/
3.0
KNUTZHORNTO MCCANN)
Frederick Golchan.
CATHERINESTARTS TURNINGAWAY.
865-15
SCENE77 - INT. MINIMUMSECURITY
PRISON/VISITINGAREA- DAY- MCSLOOKINGPAST ART FORGERHEINRICH
KNUTZHORN,TIPPED IN LFG, AND.THROUGH
A CHAIN-LINK FENCETO MCCANNAS HE
HOLDS UP THE MONETFORGERY.
MCCANN
So, whodo you think did this?
KNUTZHORN
TAKES OUT HIS GLASSES.
871-09
ACROSSTHE ROOMPAST CATHERINE AND
MCCANN,WHOARE SEATED ON ONE SIDE
OF THE CHAIN-LINK FENCE, TO KNUTZHORN
SEATEDON THE OTHERSIDE. HE PUTS ON
HIS GLASSESAND INSPECTST.HE FORGERY.
875-11
SCENE79 - MCS - LOOKINGTHROUGH
THE
FENCE TO KNUTZHORNAS HE STUDIES THE
O.S. FORGERY.
KNUTZHORN
Eh, Frederick, uh, Golchan.
885-05
(5AB- 238)
"THE THOMAS
CROWN
AFFAIR"
R/5AB PI23
TITLE
NO.
LIST

THE
FENCE TO MCCANNAS HE SMIRKS AND
LOWERSTHE FORGERYOUT OF FRAME.
MCCANN
He said you did.
KNUTZHORN
(off)
(stammers)So, so...
842
887.8
843
889.14
895.14 6.0
(over sceneend)
KNUTZHORN
TO MCCANN)
(sarcastically)
Soyou think if I wantpaint, it just comes
Fed Ex?
(comes: is delivered to meby)
(Fed Ex : short for, Federal Express,
the leading overnight courier service in
the U.S.)
844
896.6
900.14
4.8
KNUTZHORN
TO MCCANN)
(sarcastically)
Andthe guardsjust think its therapy,..
(it : myforging work)
845
901.6
907.14/
6.8
KNUTZHORN
TO MCCANN)
(sarcastically)
...while I madlycopya Monetin mycell
fromthe original?
(Knutzhorns eyesgo back to the
Monet- he smiles)
846
920.10
922.2/
1.8
CATHERINETO KNUTZHORN)
What?
(Knutzhornquickly looks awayfrom the
painting andloses his smile - when
Catherine and McCann
exit the prison
andreturn to his car, Catherinelooks
thoughtful)
890-09
889.8
2.0
THE
FENCE TO KNUTZHORNAS HE REMOVESHIS
GLASSES.
KNUTZHORN
...you think i-i-if
I wantpaint, it just comes

Fed
Ex? And, uh, the guardsjust think its therapy
MCCANNTO KNUTZHORN)
Hesaidyoudid,
while, while I madlycopya Monetin mycell,

from the original? (chuckles - continues under
following scene)
908-00
SCENE82 - CS - CATHERINEHIDES A SMILE
AS SHE LOOKSLFG AT O.S. KNUTZHORN.
911-13
SCENE83 o MCS o KNUTZHORNLOOKSDOWN
AT THE O.S. FORGERY
AND BETRAYSA
SUDDENLOOK OF RECOGNITION.
917-02
SCENE84 o MCS- CAMERA
SWISH PANS R
FROMTHE FORGERYTO CATHERINEAS SHE
NOTICES O.S. KNUTZHORNSLOOKAND
REACTSCURIOUSLY.
CATHERINE
What?
922-03
THE
FENCE TO KNUTZHORNAS HE SHAKESHIS
HEADWITH A GRIN AND HOLDSHIS FINGER
TO HIS LIPS.
926-14
(5AB- 239)
- "THE THOMAS
CROWN
AFFAIR"
RJ5ABP124
TITLE
NO.
LIST
SCENE86 - EXT. MINIMUMSECURITY

PRISON/PARKING
LOT - DAY - MFS - MCCANN
AND CATHERINEWALK TO MCCANNSCAR.
MCCANNUNLOCKSTHE DOORS, THEN
LOOKSOVER AND NOTICES THAT
CATHERINEIS DISTRACTED.
MCCANN
What?
CATHERINE
Nothin.
847
932.2
933.10
1.8
MCCANNTO CATHERINE)
What?
(i.e., Whatare you thinking?)
848
934.0
935.8
1.8
Nothing.
(McCannsays something questioningly
again)
849
939.8
944.0
4.8
I wasjust wonderingabout what he
wouldnt say.
(he : Knutzhorn)
850
/946.0
947.10
1.10
MCCANNTO CATHERINE)
Give.
(i.e., Explain whatyoure talking
about.)
851
949.14
951.14
2.0
CATHERINETO MCCANN)(evasive)
Nothing.
852
952.14
959.6
(over scene end)
6.8
MCCANNTO CATHERINE)
Youknowwhat?Life is full of shitty
conflicts. Give.
(shitty : vulgar slang for, unpleasant)
(meaningthat Catherine must now deal
with the conflict of her feelings for.
Crownversus her desire to catch him
as the thief of the Monet)
MCCANN
What?
CATHERINE TURNSTO MCCANN. HE GETS
IN THE DRIVERS SEAT AS SHE OPENSTHE
PASSENGERDOOR.
CATHERINE
Well, I wasjust wonderingabout what he
wouldnt say.
CATHERINEGETS IN THE PASSENGER
SEAT.
945-13
SCENE87 o INT. MCCANNS
CAR- DAYMCS- PAST CATHERINE,LFG, TO MCCANN
AS CATHERINESETTLESIN HER SEAT AND
SHUTSHER O.S. DOOR.
MCCANN
Give.
MCCANNSTARTS THE ENGINE.
CATHERINE
Theres nothing.
MCCANN
You know what?
MCCANNANGRILY REMOVESHIS
SUNGLASSES, THROWSTHEM ON THE
DASHBOARD
AND TURNS TO CATHERINE.
MCCANN
(contd)
Life is full o-...
955-09
(5AB- 240)
R/SABPl25
TITLE
NO.
MASTERENGLISHSUBTITL~SPOTRNG
LIST

CATHERINEAS SHE TURNSTO HIM.
MCCANN
~.o-f shitty conflicts, okay?Give.
CATHERINE
I just wondered
if there wasa connection
853
962.14
970.2/
7.4
I just wondered
if there wasa connection
betweenthem, thats all.
(them : Crownand Knutzhorn)
854
970.14
973.14
3.0
MCCANNTO CATHERINE)
BetweenCrownand that old man?
(Catherine says something
affirmatively)
betweenthem, thats all.

970-04
SCENE89-MCS-PAST CATHERINE, LFG, TO
MCCANN.
MCCANN
Between Crownandthatold man?
CATHERINE
Yeah.
978-10
SCENE90 - EXT. SOHOSTREETS
- NIGHTFS - CAMERATILTS DOWNFROMA VIEW OF
THE WORLDTRADE CENTER TOWERSAND
SWISH PANS L TO REVEALPEOPLE
STROLLINGON THE SIDEWALKSOF SOHO, A
CHIC NEIGHBORHOOD
IN LOWER
MANHATTAN. CAMERAMOVES R DOWNTHE
STREET PAST THEM.
989-11
AND CATHERINE
ENTER LBG AND STROLL ALONG THE BUSY
SIDEWALK PAST SOME SHOPS. THEY PAUSE
TO LOOKIN A SHOPWINDOW.
1004-00
- LATERMFS - LOOKING THROUGHA SHOP WINDOW
TO CROWN
AND CATHERINEINSIDE THE
SHOP, LOOKING THROUGHCLOTHING
RACKS.
1014-08
SCENE93 - EXT. SOHOSTREETS- LATERFS - LOOKINGACROSSTHE STREET TO
CROWNAND CATHERINEAS THEY STROLL L
ALONGTHE SIDEWALK AND STOP TO LOOK
IN ANOTHERSHOP WINDOW.
1028-14
(5AB- 241)

TITLE;
NO.
LIST
SCENE94 - FS - LOOKINGPAST A BOOTH

STRUNGWITH CHRISTMASLIGHTS, RFG, TO
CROWNAND CATHERINE AS THEY STROLL
FG ALONGTHE BUSYSIDEWALKPAST IT.
AFTER PASSING THE BOOTH, THEY STEP R
TO LOOK IN ANOTHERSHOP WINDOW,
CAMERAPANNINGWITH THEMINTO MS.
CROWNCLUTCHES CATHERINE FROM
BEHINDAND RUBSHIS FACEIN HER HAIR AS
SHE CHATS. SCENE SUDDENLYFREEZE
FRAMESAND TURNSTO BLACK AND WHITE
AS A FLASH PHOTOGRAPH
IS TAKEN, THEN
CAMERAZOOMSIN ON THE PHOTOAND
FADESTO BLACK.
1076-04
SCENE95 - INT. POLICESTATION/MCCANNS
OFFICE- DAY- MS- CATHERINES
POVCAMERAMOVESIN ON PARETTI, SEATEDL
ON THE FRONTOF MCCANNSDESK, AND
MCCANN,SEATEDRBG BEHIND THE DESK,
AS THEYBOTHLOOKUP. AT O.S. CATHERINE.
THERE IS ANOTHERDETECTIVE WORKING
AT A DESK BEHIND MCCANN.
MCCANN
You are spooky. Youare really spooky.
855
/1076.6
1081.2 4.12
856
1081.8
857
1084.2 1089.10 5.8
--Crownand Knutzhorn. In Berlin, 1990.
(Berlin : city in Germany)
858
1090.2 . 1095.2/ 5.0

(over sceneend)
Another one in Hamburg
and one in Pa~:is
in 94.
(Hamburg: city in Germany)
(94 : 1994)
(Catherinestudies the printout)
CAMERAHOLDSON PARETTI IN MCSAS HE

GRINS.
PARETTI
(chuckles) Theyowneda gallery together.
1083-09
1083.8/ 2.0
MCCANNTO CATHERINE)
Youare spooky. Youare really spooky.
(spooky: colloquial for, unnervingly
accurateor perceptive)
(later that day, Catherinefinds McCann
andParetti looking over a printout)
Theyowneda gallery--
SCENE96 o MS - PASTPARETTI, RFG, TO

CATHERINE,STANDINGIN FRONTOF HIM, AS
HE HANDSHER A COPYOF A REPORT.
PARETTI
Crownand Knutzhorn. In Berlin, nineteen ninety.
And another one in Hamburg...
1091-14
(5AB- 242)
R/SABPI27
TITLE
NO.
MASTER
LIST
SCENE97 - MCS- PARETTI, LFG, LOOKS

DIRECTLY AT CAMERA.MCCANNIS OUT OF
FOCUS
BEHINDHI,<:; DESKIN RBG.
PARETTI
...and onein Paris in ninety-four.
1095-03
SCENE98 - MS - PASTPARETTI, TIPPEDIN
RFG, TO CATHERINEAS SHE WANDERS
INTO
BG, READINGTHE REPORT.
CATHERINE
Younotice the one-man
showin Paris in ninety-
859
1097.10 1102.2 4.8
CATHERINETO MCCANN& PARETTI)

Younotice the one-manshowin Paris in
95?
(one-manshow: exhibition of art
works by one person)
(95 : 1995)
860
1104.8
1106.1012.2

Theartist is Knutzhorn.
861
1107.2
1109.2/ 2.0
MCCANNTO CATHERINE)
So?
862
1110.2
1112.10/ 2.8
Lookat the first name.
863
1113.6
1116.2 2.12
Tyrol Knutzhorn.
864
1116.10 1119.14 3.4
five?
CATHERINESTOPSAND TURNSTO PARETTI.
CATHERINE
(contd)
Theartist is Knutzhorn.
1106-12
SCENE99 - MS- PAST PARETTI, LFG, TO
MCCANNBEHIND HIS DESK AS HE LOOKSAT
O.S. CATHERINEIN CONFUSION.
MCCANN
So?
CAMERARACKS FOCUS FROM MCCANNTO
PARETTI, WHOIS ALSOCONFUSED.
1109-04
SCENE100 - MS - PASTPARETTI, TIPPEDIN
RFG, TO CATHERINE.
CATHERINE
So, look at the first name.
1112-14
SCENE101 - MCS- PARETTI, LFG, LOOKSUP
FROMHIS REPORTAT O.S. CATHERINE.
PARETTI
Tyrol Knutzhorn.
CAMERARACKS FOCUS TO MCCANNAS HE
LOOKSUP FROMHIS REPORTIN RBG.
MCCANN
Yeah, we spoketo a Heinrich.
MCCANNTO CATHERINE)
Wespoketo a Heinrich.
1120-13
(5AB- 243)
"THE THOMASCROWNAFFAIR"- R/SAB PI28

TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOIrlNGLIST
SCENE102 - MS o PASTPARETTI, RFG, TO

CATHERINEAS SHE SMILES RUEFULLY.
CATHERINE
(chuckles)
PARETTI
Oh.
CATHERINE WANDERSTOWARDPARETTI,
LOOKINGRFG AT O.S. MCCANN.
CATHERINE
You knowwhat it was?The way he smiled at the
865
1124.6
1126.14 2.8
You knowwhat it was?
(it : Knutzhornsexpression)
866
1128.6
1131.6
The wayhe smiled at the painting?
painting? Pride.
CATHERINE TURNS AND WANDERSBG
AGAIN.
CATHERINE
(contd)
Paternal pride.
PARETTI
(exhales)
3.0
867 1133.6
1135.6
2.0
Pride.
868 1136.6
1139.2
2.12
Paternalpride.
CATHERINE
(overlapping)
I bet youits his son.
CATHERINESTOPSAT HER O.S. DESK AND
SETS DOWNHER PURSE, THEN LEANS BACK
AGAINST THE DESK.
MCCANN
(off)
Sonof a great forger...
869
1140.10 1143.10 3.0
I bet its his son.
(it : the forger of the Monet)
870
1144.2 1150.2
(over sceneend)
MCCANNTO CATHERINE)
Sonof a great forger whopaints as well as
Dad.
871
1150.14 1153.10/ 2.12
1146-08
6.0

MCCANNAS HE LOOKSDOWNAND THINKS.
MCCANN
...whopaintsaswellasDad.
CAMERA RACKS FOCUS FROM MCCANNTO
PARETTI.
PARETTI
Just hasnt beencaughtye-...
PARETTI TO MCCANN& CATHERINE)

Just hasnt beencaught yet.
1153-13
(5AB- 244)
"THE THOMASCROWN
AFFAIR"
R/SABPI2C
iTITLE
NO.
LIST
SCENE104 - MS - PASTPARETTI, RFG, TO

CATHERINELEANING AGAINST HER DESK.
PARETTI
(face off)
CATHERINE
Well, I assume
if you look, youll find Tyrol
Knutzhornlives in NewYork.
872
1155.14 1158.14 3.0

I assume
if you look..,
873
1160.10 1165.6 4.12

...youll find Tyrol Knutzhorn
lives in New
York.
(Paretti goes to check - McCann
eyes
Catherine)
PARETTI TURNSTO LOOKBACK AT O.S.

MCCANN.
1167-07
SCENE105 - MS - PASTPARETTI, LFG, TO
MCCANNAS PARETTI LOOKSBACK AT HIM
AND HE SHRUGS.
PARETTI
Shh-PARETTI GETS UP FROMTHE DESK AND
CROSSESR, EXITING FRAME, THEN MCCANN
GETS UP AND FOLLOWSHIM. CAMERATILTS
UP AND PANS WITH MCCANNIN MCS.
MCCANN
Youknowwhat?I, uh, .(exhales) I oweyou
874 1174.10
1177.6
2.12
MCCANNTO CATHERINE)
You know what?
apology.
1181-04
SCENE106 - MS o PAST MCCANN,CROSSING
L IN FG, TO CATHERINEAS SHE GETSUP
FROM HER DESK AND TURNS AWAY FROM
HIM.
875
1179.14 1182.2 2.4

(over sceneend)
MCCANNTO CATHERINE)
I oweyou an apology.
876
1183.14
MCCANNTO CATHERINE)
I didnt think you hadthe chopsto see this
through.
(the chops: slang for, the nerve
the daring and endurance)
(see this through: i.e., pursue this
investigation to its conclusion)
877
1189.2
1188.4 4.6
MCCANN
I didnt
thinkyouhadthechops
to seethis
through.
MCCANNSTOPS IN LFG, AND CATHERINE
TURNSTO HIM.
CATHERINE
Well, you dont knowme.
MCCANN
Yeah,but I, I shouldve. CauseI bet youd stand 878
at the Pearly Gatesand...
1198-01
1191.2
2.0
1191.8 1197.12 6.4
You dont knowme.
MCCANNTO CATHERINE)
But I should have. I bet youd stand at the
Pearly Gates...
(the Pearly Gates: colloquial
expressiondescribing the entranceto
heaven)
(5AB- 245)

TITLE
NO.
LIST
SCENE107 - MCS- MCCANNLOOKSRFG AT

O.S. CATHERINE.
MCCANN
...kick Saint Peter right in the teeth beforeyoud
879
/1198.2
1203.6 5.4
MCCANNTO CATHERINE)
...and kick St. Peter in the teeth before
youd let someone
play you.
(St. Peter one of Jesus apostles,
andalso a Christian saint, said to
guard the gates of heaven)
(play you : slang for, take advantage
of you - manipulateyou - use you)
(McCannexits - Catherine makes
phonecall to her BusinessManager)
880
1211.2
1215.10 4.8
CATHERINETO MANAGER)
(into telephone)
Harold,listen carefully anddont interrupt.
881
1216.2
1222.12/ 6.10
CATHERINETOMANAGER)
(into telephone)
If I hadto be gone, and I meanseriously
gone, in about 8 hours...
(If l hadto be gone: i.e., lflhadto
flee andgo into hiding)
882
1224.10 1227.6
let somebody
play you.
MCCANNTURNS AND WALKS OUT THE
DOOR.
1204-04
SCENE108 - MCS- CAMERAPULLS BACK
FROMCATHERINEAS SHE STARESAT O.S.
MCCANN,STUNNED.
1210-13
OFFICE- LATERo MCS- CATHERINE
IS
SEATEDAT HER DESK, TALKING ON THE
TELEPHONE.
CATHERINE
(into telephone)
Harold, listen carefully, andpleasedont
interrupt.
CATHERINELEANS BACKR.IN HER CHAIR
AND LOOKS BACK CAUTIOUSLY OVER HER
SHOULDER,THEN CAMERAPANS R, OFF
HER, TO REVEAL MCCANNSEMPTYDESK
AND THE OTHER DETECTIVE WHOWORKSIN
THE OFFICE LEAVINGHiS OWNDESKIN BG.
CATHERINE
(into telephone) (contd)
If I (o~ had to be gone, and I meanseriously
gone, in about eight hours...
THE DETECTIVEEXITS R OUT A BACK DOOR.
1222-13
SCENE110 - MCS- CATHERINETURNSL TO
HER DESK AGAIN AS SHE TALKS ON THE
PHONE, CAMERAPANNINGWITH HER.
CATHERINE
(into telephone)
...how muchcould I take with me?
2.12
CATHERINETO MANAGER)
(into telephone)
...how muchcould I take?
(how much: i.e., what amountof my
assets)
(5AB- 246)
"THE THOMAS
CROWN
AFFAIR"
R/SAB PI31
TITLE
NO.
MASTER
LIST
CAMERASLOVVLY CRANESUP AND MOVESIN
ON CATHERINESFACE.
BUSINESSMANAGER
(over telephone)
Are you all right, Catherine?
883
ITAL
1227.14
1229.6 1.8
MANAGERTO CATHERINE)
(over telephone)
Are you okay?
884
1229,14
1231.4 1.6
CATHERINE TO MANAGER)
(into telephone)
Harold.
885
ITAL
1231.8
886
1236.121243.12
887
ITAL
/1245.14 1251.4 5.6

(over sceneend)
CATHERINE
(into telephone)
Harold.
BUSINESSMANAGER
(over telephone)
Well, youll be taking an enormous
loss, if you
liquidate like this. Doyou understand?
CATHERINE
(into telephone)
Now,I understandthat, andthat cant be helped.
1236.6
4.14
(over telephone)
Youdtake an enormousloss, liquidating
like this.
(liquidating : i.e., selling your assets)
(like this : i.e., so quickly)
7.0
CATHERINE TO MANAGER)
(into telephone)
I understand,andthat cant be helped.
Whatcould I leave with?
(that : mytaking a financial loss)
(What : Howmuchin cash)
But what could I leave with?

BUSINESSMANAGER
(over telephone)
(low) Hmm.Well, I dont have...
CATHERINEGLANCESBACK R OVER HER
SHOULDERAGAIN.
1245-12
SCENE111 - MFS- CATHERINESPOV- THE
OTHERDETECTIVE REENTERSTHE OFFICE
AND WALKSL TO HIS DESK, CAMERA
PANNINGWITH HIM.
BUSINESSMANAGER
(over telephone)
(low) ...the figures (indistinct), but if youcall
backin an hour, Ill
havea number
for you...
1250-00
SCENE112 - MCS- CATHERINE,NOWFACING

HER DESK AGAIN, SPEAKSQUIETLY ON THE
TELEPHONE.
(over telephone)
Call mein an hour-.lll give you a number.
(number: figure [of how muchcash
Catherinecould get from liquidating all
her assets])
(Catherine hangsup andstarts putting
everything from her deskinto her carry
bag- McCann
comesout of his office)
BUSINESSMANAGER
(over telephone)
...of somekind.
CATHERINE
(into telephone)
Okay.
CATHERINEHANGSUP AND PAUSES TO
THINK A MOMENT,THEN SHE STARTS
CLEANINGHER DESK AND PUTTING ALL HER
THINGS IN HER PURSE.
1267-06
(5AB- 247)

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLF.JSPOIrlNGLIST
SCENE113 - MFS - MCCANN

STEPSINTO THE
DOORWAY
AND LOOKSIN AT O.S.
CATHERINE. THE BUSY SQUADROOMIS
VISIBLE BEHINDHIM.
1274-05
SCENE~
114 - MFS - LOOKINGTHROUGH
THE
DOORWAY
PAST MCCANNS TORSO, TIPPED
IN RFG, TO CATHERINEAS SHE CLEANSHER
DESK DRAWERS.
MCCANN
(face off)
Leavin us?
888 1276.2
1278.2
2.0
MCCANNTO CATHERINE)
Leaving us?
CATHERINETURNS TO MCCANNWITH A
START, BUT QUICKLY RECOVERS.
CATHERINE
No,youre not that luck-...
889
1281.10 1286.6
(over sceneend)
890
1287.10 1291.61 3.12
MCCANNTO CATHERINE)
No Knutzhornhas been to see the old man.
(see : visit)
(the old man: referring to Heinrich)
891
1299.10 1307.2
(over scene end)
MCCANNTO CATHERINE)
Therewasa Knudsen,three times last
month.Thinkthats just a coincidence,or...?
(a Knudsen : someonenamed
Knudsenwhovisited Heinrich)
(note that McCann
is pretending to be
nonchalantabout this fact, and
Catherine does the same)
4.12
CATHERINETO.MCCANN)
Youre not that lucky. Im organizing.
1283-00
SCENE115 - MS - MCCANN,STANDINGIN
THE DOORWAY,LOOKSLFG AT O.S.
CATHERINE. THE BUSY SQUADROOMIS
VISIBLE BEHINDHIM.
CATHERINE
(off)
...-y. Im organizing.
MCCANN
(smackslips) No, uh, Knutzhorns ever been
see the old man.
1291-07
SCENE118 - MS - CATHERINEPRETENDSTO
ORGANIZE SOMEPAPERS AND PUTS THEM
BACK IN THE DESK DRAWER.
CATHERINE
No?
1295-02
SCENE117 - MS - MCCANN
TAKES A STEP
BACK OUT THE DOOR, THEN TURNSTO O.S.
CATHERINE AGAIN. THE BUSY SQUADROOM
IS VISIBLE BEHINDHIM.
MCCANI~
There wasa Knudsenthough, uh, three times
last month.Doyou think thats just a...
1305-01
7.8
(5AB- 248)
"THE THOMASCROWNAFFAIR" R/SAB P/33

TITLE
NO.
MASTER
ENGLISHSUBTITLF./SPOBINGLIST
SCENE1t8 o MS - CATHERINEPRETENDS
TO
WORKON SOME PAPERS.
MCCANN
(off)
...coincidence,
or ....
CATHERINETURNSRFG TO O.S. MCCANN.
892
CATHERINE
Could be.
1309.0
1311.0 2.0
CATHERINETO MCCANN)
Could be.
1317.12 4.10
MCCANNTO CATHERINE)
Yeah.It probably is.
(It : The fact that a Knudsenhas
visited Knutzhorn)
1311-10
SCENE119 - MCS- MCCANNSTEPS BACK
OUT THE DOORAGAIN, NODDINGVAGUELY.
MCCANN
Yeah...probablyis.
893 1313.2
1318-07
SCENE120 - MCS- CATHERINETURNS

NERVOUSLYAWAYFROM O.S. MCCANNAND
RESUMESHER "WORK".
1322-18
SCENE121 - MFS - LOOKINGTHROUGH
THE
DOORWAY
TO MCCANNAS HE STANDS OUT
IN THE SQUADROOMAND LOOKSDOWNAT
THE FLOORTHOUGHTFULLY.
MCCANN
Hm.
MCCANNEXITS L DOWNTHE HALL.
1330-06
SCENE122 - ECS - CLOSEON CATHERINES
EYES AS SHE IMMEDIATELY TURNSAND
LOOKSRFGAT THE O.S. DOOR, MAKING
SUREMCCANNIS GONE.
1333-04
SCENE
123 - INT. TAXI - DAY- MCSLOOKINGTHROUGH
THE DIVIDING GRILL TO
CATHERINEIN THE BACK SEAT AS SHE
STUFFS SOMEMONEYINTO THE PAY SLOT.
CATHERINE
Look, heres an extra hundred. Just go!
1336-05
894
/1333.6
1338.6 5.0
(overscene end)
CATHERINETO TAXI DRIVER)

Look, heres an extra hundred. Just go!
Go!
(hundred : hundreddollars)
(note that Catherineis nowin a taxi
that is headingfor Crowns
townhouse- she pays the Driver an
extra $100to go faster - soonthey
arrive at CrownstownhouseCatherinerings the doorbell - Paul
opensthe door and she enters)
(5AB- 249)
R/5AB PI34
COMBINED
TITLE
NO.
MASTER
LIST
SCENEt24 - EXT. NEWYORKSTREETSo DAY

- FS - CATHERINESTAXI SPEEDSL DOWNA
STREET, CAMERAPANNINGWITH IT.
CATHERINE
(voice over)
Go!
THE TAXI SKIDS AROUNDA CORNERONTOA
BUSY AVENUE, NARROWLY
AVOIDING OTHER
TRAFFIC, AND MOVESOFF INTO THE
DISTANCE.
1341-03
DAY - MCS- PAST CATHERINE,RFG, TO THE
FRONTDOORAS PAUL OPENSIT FROM
INSIDE. CATHERINEIMMEDIATELYRUSHES
IN PASTHIM.
CATHERINE
Paul, is he here?
895
1341.10 1343.2 1.8
CATHERINETO .PAUL)
Is he here?
(he : Crown)
896
1343.8
PAUL TO CATHERINE)
Hesin a meeting.If youll wait in the living
room,Ill get him.
(Catherinelooks at Paul suspiciously,
then notices several suitcases in the
foyer - she headsupstairs)
CAMERAFOLLOWSCATHERINE INTO THE

HOUSE. PAUL TURNSAND CALLS AFTER
HER AS SHE HURRIES THROUGHTHE FOYER
INTO BG.
PAUL
Hes in a meeting at the moment,maam.
CATHERINE
(overlapping)
Well, its very importantIo-
1349.4 5.12
PAUL(overlapping)
(raising his voice)If youll wait in the living
room...
CAMERAHOLDSIN MS PAST PAUL, LFG, TO
CATHERINEAS SHE STOPSIN THE MIDDLE
OF THE FOYER.
PAUL(contd)
...111 gethim.
CATHERINE SLOWLYTURNS BACK TO PAUL
WITH REALIZATION DAWNINGIN HER. SHE
LOOKSDOWNR, THEN CAMERATILTS DOWN
AND PANS R, OFF CATHERINEAND PAUL, TO
REVEALSEVERALSUITCASESAT THE BASE
OF THE STAIRS.
1359-08
(5AB- 250)
R/SABPI35
TITLE
NO.
MASTER
SCENE126 - MCS- CATHERINESTARES

DOWNR AT THE O.S. SUITCASES, THEN
LOOKSUP L AT THE CEILING FORA
MOMENT. SHE TURNS AND HURRIESRTO
THE STAIRS, CAMERAPANNINGWITH HER.
PAUL(off)
Maam,wait.
897
1366.14 1368.1412.0
PAUL TO CATHERINE)
Maam,wait.
(Catherine hears Crowns voice coming
from the bedroom)
898
1383.6 1390.14 7.8

(over sceneends)
CROWNTO ANNA)
Wehave plug adaptersbut I cant find
them. Go downstairs, Anna, and ask-(plug adapters: adapters for the
plugs of American-made
electric
devices- note that the electric current
is different in Europeand oneneeds
an adapterin order to plug an
American-made
device into a European
outlet)
(Catherine opens the door and sees
Annasitting on Crownsbed- a halfpackedsuitcase is next to her - Crown
comesout of the bathroom,then stops
uponseeing Catherine - Annagives
Catherinea sullen look, then exits)
CATHERINEIGNORESO.S. PAUL AND RUNS-*

UP THE STAIRS, CAMERA
TILTING UP WITH
HER. PAUL ENTERS LFG AND STOPS BELOW
THE STAIRS.
1368-15
UPSTAIRSHALLWAY- DAY - MS - CATHERINE
RUNSLFG UP THE STAIRS, CAMERATILTING
UP WITH HER INTO MCS. SHE REACHESTHE
TOP OF THE STAIRS AND WALKSRFG DOWN
THE HALL AS CAMERADOLLIES BACK WITH
HER. AS SHE REACHESTHE END OF THE
HALL, SHE STARTSTO EXIT LFG.
CROWN
(off)
I knowwe have...
1381-04
SCENE128 - MCS- CAMERAFOLLOWS

CATHERINE TO CROWNSBEDROOMDOOR.
CROWN
(off)
...a plug adaptor.
CATHERINE THROWSTHE DOOROPEN TO
REVEALANNASITTING ON CROWNSBED.
HIS CLOTHESARE LAID OUT ON THE BED
BESIDE SOMEHALF-PACKEDSUITCASES.
CROWN
(off) (contd)
I sawthe plug adaptor.I just cant...
1386-06
SCENE129-1NT. CROWNS TOWNHOUSE/
BEDROOM-DAY- MCS-CATHERINE STANDS
IN THE DOORWAY,
STARINGLFG AT O.S.
ANNA.
CROWN
(off)
...find the bloody plug adaptor. Wouldyou go...
1388-12
(5AB- 251)
R/5AB PI36
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOIIINGLIST
SCENE130 - MFS- ANNA, SITTING ON THE

BED, STARESRFGAT O.S. CATHERINE.
CAMERATILTS UP AND PANS L SLIGHTLY TO
REVEAL CROWNEMERGINGFROM THE
BATHROOMIN LBG WITH SOME MORE
CLOTHES.
CROWN
(face off)
...downstairs, Anna,andask Paul if-CROWN
STOPS ABRUPTLYAS HE SEES O.S.
CATHERINE.
1395-02
SCENE131 o MFS- ANNAGETSUP OFF THE
BED IN LFG, CAMERA
TILTING UP WITH HER,
AS CATHERINESTANDSIN THE DOORWAY
IN
BG, STARINGAT HER. ANNA GLANCESBACK
AT CATHERINE.
1400-12
SCENE132 - MS - ANNATURNSAWAYFROM
O.S. CATHERINEAND GRABSHER COAT
FROMTHE BED, THEN STARTSTO WALKL,
AS CROWNWATCHESFROM THE BATHROOM
DOORWAY
IN LBG.
1407-03
SCENE133 - MS - ANNAWALKSR ACROSS
THE ROOM, STARING BACK AT CATHERINE
(WHOIS IN THE DOORWAY
IN BG),
CAMERAPANS WITH HER, OFF CATHERINE.
ANNA STARTS TO EXIT THROUGHANOTHER
DOORINTO THE STUDY.
1414-0t
SCENE 134 - MCS- CATHERINELOOKS
DOWN, DEVASTATED,
AS O.S. ANNAIS
HEARDWALKING THROUGHTHE STUDY.
AFTER A FEW MOMENTS,ANNA EMERGESR
FROMTHE HALL DOOROF THE STUDY
BEHIND CATHERINEAND CROSSESL DOWN
THE HALL, EXITING FRAME.
1427-08
SCENE135 - MFS- CATHERINELISTENS TO
ANNAS FOOTSTEPSWALKING DOWNTHE
O.S. STAIRS, THENSHE TAKESA. FEWSTEPS
LFG INTO THE ROOM. CAMERATILTS DOWN,
OFF HER, TO REVEAL CROWNSCLOTHES
AND OPEN SUITCASESON THE BED.
(5AB- 252)
R/5AB PI37
TITLE
NO.
MASTER
CATHERINE
(off)
Well...
899
1439.14 1443.6
(over sceneend)
3.8
900
1447.12 1450.123.0
(over sceneend)
CAMERATILTS UP TO CATHERINEAGAIN AS
SHE STOPSBESIDE THE BED.
CATHERINE
(contd)
...we seemto haveba-...
1441-07
CATHERINE TO CROWN)
Well, we seemto have backtracked.
(backtracked : regressed in the
position of our relationship - meaning
that Catherine had thought they had
madea commitmentto each other and
nowfinds he is with Annaagain)
(Catherine turns to leave and Crown
runs to her, grabbingher arm- she
yanks away from him)
SCENE136 - MFSo PAST CATHERINETO

CROWNAS HE TAKES A FEW TENTATIVE
STEPS TOWARDHER.
CATHERINE
...-ck-tracked.
CROWN
No.
CATHERINE
No.
CATHERINE TURNS AWAY FROM CROWN,
SHAKINGHER HEAD FIRMLY, AND STARTS
HEADINGTOWARDTHE O.S. DOOR.
1445-09
SCENE137 - MFS - CAMERAFOLLOWS
CROWNAS HE RUNS AFTER CATHERINE,
STOPPING HER FROM WALKING OUT THE
DOOR.
CROWN
(grunts) Comehere.
CATHERINE WHIRLS AROUNDANGRILY TO
YELL AT CROWNAS CAMERAHOLDSON HER
IN MCS.
CATHERINE
(overlapping)
(shouting) Takeyour handsoff...
CATHERINE TO CROWN)
Takeyour handsoff me!
1449-05
SCENEt38 - MCS- PAST CATHERINE,RFG,
TO CROWN
AS HE IMMEDIATELY LETS HER
GO.
CATHERINE
(shouting) ...me!
(5AB- 253)
"THE,T, HOMAS
CROWN
AFFAIR"
R/5AB P138
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOI"rlNGLIST
CROWNSTARES AT CATHERINE AS SHE
CALMS DOWN.
CATHERINE
(contd)
Comeon, what do you have thats fresh?
901
1452.6 1457.6
(over sceneend)
5.0
902
1457.12 1460.8 2.12
CROWNTO CATHERINE)
Annaworks for me.
(Catherine smirks)
903
1466.8 1469.2
(over sceneend)
CATHERINE TO CROWN)
Younever thought I wasa fool before.
(implying that only a fool wouldbelieve
that excuse)
904
1469.8
1473.10 4.2
CROWNTO CATHERINE)
I oweher moneyand had to pay her before
I go.
905
1474.0 1479.6/ 5.6

(over sceneend)
CATHERINE TO CROWN)
Oh, really? Andwhatis it that she doesfor
you?
(And...you : note that Catherine says
this in sucha wayas to imply that
Annamust perform sexual services for
Crown)
1454-12
CATHERINEGLARINGAT HIM.
CATHERINETO CROWN)
So, what do you have thats fresh? Like
whothat girl is-(what : what excuse - what
explanation)
(fresh : not yet used)
CATHERINE
Like whothat girl is andwhyshes here every
time-CROWN
Annaworks for me.
CATHERINE
(chuckles) Oh, you never thought I wasa...
1468-05
2.10

TO CROWN.
CATHERINE
...fool before.
CROWN
Shes here becauseI oweher moneyand I
wantedto pay her before I go.
CATHERINE
(chuckling) Oh, really?
CROWN
Mm-hm.
CATHERINE
Andwhati-...
1476-05
SCENE141-CS-PASTCROWN, LFG, TO
CATHERINE.
CATHERINE
...-sitshedoes
~ryou?
1479-08
(5AB- 254)
"THE THOMASCROWN
AFFAIR",
R/5AB P/39
COMBINED
CONTINUITY& OIALOGUE
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"IING LIST

TO CROWN.
906
1481.10 1484.6 2.12
CROWN
TO CATHERINE)
It would compromise
her to say.
907
1484.12 1487.12 3.0
CATHERINE
TO CROWN)
(exasperated)
Youre going awaytogether.
908
1488.2
CROWNTO CATHERINE)
No, Im going with you.
909
1496.10 1502.6 5.12
CATHERINETO CROWN)
Of all the things to take with a leap of
faith....
(take : accept o believe)
(leap of faith : colloquial for, a choice
madebasedpurely on belief or
conviction, rather than on proof or
evidence)
(referring to her earlier willingnessto
believe that Crownwould committo
her)
910
1505.10 1508.6
CATHERINE TO CROWN)
Howcan I possibly trust you?
CROWN
Im gonnatrust you. Isnt that whatyou wanted...
1516-14
911
1508.14 1511.4/ 2.6
CROWNTO CATHERINE)
I wont askthat.
(that : that you trust me)

CATHERINEAS TEARSWELL IN HER EYES.
912
/1511.10 1514.2
CROWNTO CATHERINE)
Im goingto trust you.
913
1515.10 1519.0 3.6

(over sceneend)
CROWNTO CATHERINE)
Isnt that whatyou wanted--mytrust?
914
1521.6 1523.61 2.0
CROWNTO CATHERINE)
Tomorrow
afternoon...
CROWN
I wouldbe compromi~,ing
her to say.
CATHERINE
Oh, Tommy,youre going awaytogether.
CROWN
(overlapping)
No, Im going with you.
1491-03
CATHERINEAS SHE STARESAT HIM AND
SHAKESHER HEAD.
CATHERINE
Ofallthethingsinthe
1491.2/ 3.0
worldtotake withaleap
of faith. Howcan I possibly trust you?

CROWN
Im not goingto ask that.
1511-06
TO CROWN.
CROWN
...my trust? Tomorrow
afternoon...
1523-08
TO CROWN.
2.12
2.8
CROWN
...111 put the Monetback.
1528-12
915 1524.12
1527.8
2.12
CROWNTO CATHERINE)
...Ill put the Monetback.
(Catherine reacts with amusement)

CATHERINEAS SHE STARTSTO LAUGH.
916
CATHERINE
(laughs) Where?Hangin-...
1538-13
.1536.10 1540.14 4.4

(over sceneend)
CATHERINE TO CROWN)
(not believing him)
Where,hangingback on the wall in the
museum?
(5AB- 255)
"THE THOMASCROWN
AFFAIR"
~JSABPI40
TITLE
NO.
MASTERENGLISHSUBTITL~SPOTTINGLIST

TO CROWN.
CATHERINE
...-g back on the wall in the museum?
CROWN
Yes.
917
1541.6
918
1543.14
919
1548.8 1554.4
(over sceneend)
920
1557.2
1560.121 3.10
CATHERINE TOCROWN)
Back on the wall, in the museum?
(Crownsays somethingaffirmatively)
921
1563.2
1565.6 2.4
CROWNTO CATHERINE)
Andyoull meetme...
1543.0
1.10
1543-07
CROWNTO CATHERINE)
Yes.
(Catherinereacts tiredly)
SCENE149-CS-PASTCROWN, LFG, TO
CATHERINE.
CATHERINE
Youknow, Tommy,lm allcheckmatedout.
1548.2 4.4
CROWN
Ifthepaintings...
1549-07
SCENE150-MCS.-PAST CATHERINE, RFG,
TO CROWN.
CROWN
...back, were free of it all. Wereonly for each
5.12
other.
CATHERINE TO CROWN)
Tommy,Im all checkmatedout.
(checkmate: act of checking an
opponents chess king so that escape
is impossible- usedcolloquially to
meanarrest, thwart or counter
completely)
(Im all checkmated
out : i.e., Ive
completely exhaustedall myways of
counteringor rebutting you)
CROWNTO CATHERINE)
If the paintings back, were free. Weve
only eachother.
1555-08
CATHERINEAS SHE STARESAT HIM
DUBIOUSLY.
CATHERINE
Back on the wall, in the museum?
1560-13
SCENE152 o MCS- PAST CATHERINE,RFG,
TO CROWN.
CROWN
Yes. Andyoull meetme...at four oclock...at the
Wall Street Heliport, andwell...
1571-10
922 1566.2
923
1568.6
2.4
1569.2
1573.14 4.12
(over sceneend)
CROWNTO CATHERINE)
...at four oclock...
(referring to four in the afternoon)
CROWNTO CATHERINE)
...at the Wall Street heliport, andwell
leave.
(Wall Street : see Title #723)
(heliport : landing padfor helicopter~)
(5AB- 256)
"THE THOMAS
CROWN
AFFAIR"
R/SAB PI4t
TITLE
NO.
LIST

CATHERINEAS SHE SMILES DUBIOUSLY.
CROWN
...leave together.
CATHERINE
(chuckles)
CROWN
Or....
924
1575.10 1577.4
1.10
CROWNTO CATHERINE)
Or...
925
/1583.10 1588.4
4.10
CROWNTO CATHERINE)
...you can have them at the museum
waiting for me.
(them : the police)
926
1594.2
CATHERINESTARES AT CROWN,WAITING
FOR HIM TO CONTINUE.
CROWN
(contd)
Or...
1683-09
TO CROWN.
CROWN
...you can have themat the museum
waiting for
me.Im trusting you.
1597-15
SCENE155 - CS o PAST CROWN,LFG, TO
CATHERINEAS SHE PAUSESINDECISIVELY,
TRYING NOT TO CRY.
1596.10 2.8
CROWNTO CATHERINE)
rm trusting you.
(Catherine stares at Crownin
disbelief - he pulls her to him, trying to
kiss her, but she reacts with anguish)
CROWN
(whispersindistinctly)
CROWN PULLS CATHERINECLOSERTO HIM.
CATHERINE
(sniffs)
1605-09
TO CROWNAS HE LEANS FORWARDTO KISS
HER.
1607-08
(5AB- 257)
"THE THOMAS
CROWN
AFFAIR"
R/5AB PI42
TITLE
NO.
MASTER
LIST

CATHERINEAS HE STARTSKISSING HER
PASSIONATELY..SHE RESPONDSYET TRIES
TO FIGHTIT.
CROWN& CATHERINE
(kissing sounds)
CATHERINE
(overlapping)
(while kissing) I cant. I cant. I cant do that!
927
1,620.0 1623.8 3.8
CATHERINETO CROWN)
I cant do that!
(do that : makethat choice)
928
1624.4
CATHERINE)
(sobbing)
Damnyou, you son of a bitch! Get away!
(Catherine runs out of the townhouse
later, she arrives at McCannshouse)
CATHERINETRIES TO PULL AWAY,

STRUGGLINGWITH CROWNAND HITTING
HIM AS HE HOLDSONTOHER.
CATHERINE
(contd)
(crying and grunting) Damnyou, you son of
bitch! Get away!
1630.4 6.0
CATHERINE TEARS HERSELF AWAYFROM

CROWNAND BURSTS INTO TEARS AS SHE
TURNSAND RUNS OUT THE DOORINTO THE
HALL.
CATHERINE
(contd)
(cries - continues underfollowing scene)
1631-01
FOYER- DAY o MS - CAMERAFOLLOWS
CATHERINE AS SHE RUNS DOWNTHE
STAIRS INTO THE FOYER. SHE COLLAPSES
IN TEARSAT THE BOTTOMOF THE STEPS AS
CAMERARISES INTO AN OVERHEAD
VIEW OF
HER. SHE THEN REACHESFOR HER PURSE,
WHICHSHE HAD LEFT AT THE BOTTOMOF
THE STEPS, GETS UP ON HER FEET, AND
EXITS FRAMETOWARD
THE O.S. DOOR.
1654-09
SCENE159 - EXT. NEWYORKSTREETS- DAY
o MFS - CATHERINESTANDSAT THE CORNER
OF AN INTERSECTIONIN THE POURINGRAIN,
HER BACK TO CAMERA, NOT MOVINGEVEN
AS THE "WALK" SIGN COMESON. OTHER
PEDESTRIANSHOLDINGUMBRELLASAND IN
RAINCOATSSCURRYPAST HER.
1670-14
(5AB- 258)
"THE THOMASCROWNAFFAIR" R/SAB PI43

TITLE
NO.
LIST
JUMP CUT TO:

SCENE160 - MS - CATHERINEWALKSFG
AWAYFROM THE INTERSECTION, DRENCHED
AND MISERABLE, AS CAMERAMOVESBACK
WITH HER. SHE PAUSESTO LOOKL AT A
SHOP WINDOW.
1685-15
IN RFG, TO HERREFLECTIONIN THE
WINDOW.SHE .STARES AT HERSELFSADLY.
CATHERINE
(takes a breath and exhales)
1694-07
SCENE162 - INT. MCCANNSAPARTMENT
DAY - MS - PAST MCCANN,RFG, TO THE
FRONTDOORAS HE OPENSIT TO REVEAL
CATHERINEOUT ON THE FRONTSTOOP. IT
IS STILL RAINING.
1699-02
SCENE163-CS-MCCANN LOOKS LFG OUT
AT O.S. CATHERINE,SURPRISED.
MCCANN
Hey.
1703-08
SCENE164-MCS-CATHERINE LOOKS RFG
THROUGHTHE SCREENDOORAT O.S.
MCCANN.
CATHERINE
Hi. Ineedtotalktoyou.
929
1710.3
1712.11 2.8
CATHERINETO MCCANN)
I needto talk to you.
1714-00
1702-00
END OF REEL 5AB
END OF REEL 5AB
(5AB- 259)
R/6ABPI1
TITLE
NO.
START MEASURING
ACADEMYLEADER.
12-00
MASTER
ENGLISHSUBTITLF.JSPOI"TING
LIST

LOBBY- DAY - MLS HIGH ANGLE - CAMERACRANESDOWN
THROUGHAN ARCHWAYTOWARDTHE BUSY
LOBBY.
41.6 = 3RD SCENEEND
PEOPLEIN MUSEUM
20-14
SCENE2 - CS - PARETTIIS STANDING
IN THE
LOBBY, HOLDINGA WALKIE-TALKIE. OTHER
DETECTIVESARE TIPPED IN FRAMEBESIDE
ANDBEHINDHIM.
MCCANN
Paretti.
930
ITAL
/21.0
931
ITAL
23.12
22.12
1.12
Paretti..
(note that Paretti andquite a few
plainclothes officers are stationed in
the museum
lobby)
PARETTI
Yeah.
MCCANN
Yourein the lobby, right?
PARETTI
(chuckles) Yeah, Mikey, Im here. Meand about
MCCANNTO PARETTI)
26.4
2.8
MCCANNTO PARETTI)
Yourein the lobby, right?
thirty other guys. (sharp intake of breath)

36-13
SCENE3 - FS - PARETTIS POV- LOOKING
ACROSSTHE BUSY LOBBY. THERE ARE
MANY PROCTORS,SECURITY GUARDSAND
UNDERCOVER
DETECTIVES POSTED ON THE
STAIRWAYAND AT THE VARIOUS DOORS.
41-06
932 28.4
34.0
5.12
PARETTITOMCCANN)
Yeah, Mikey, Im here. Me and about 30
other guys.
(Mikey : see Title #163)
(Me...guys : said dryly)
(McCannand a grim Catherine are
upstairs in the security room,with a
large numberof museum
security
personnel)

SECURITYCENTERDAY - MCS- THE SECURITYCENTERIS
PACKEDWITH DOZENSOF SECURITY
GUARDS, LAW ENFORCEMENT
OFFICERS
AND MUSEUMOFFICIALS. CAMERAPANS
WITH ONE OF THE GUARDSAS HE COMES
THROUGHTHE DOORAND WALKSR INTO
THE ROOM, REVEALING MCCANNPACING
BEHIND THE TECHS WORKINGAT THE
MONITOR CONSOLE. HE HEADS TOWARD
CATHERINE,WHOIS TIPPED IN RFG.
(6AB- 260)
R/6AB PI2
TITLE
NO.
MASTER
SCENE4-(CONTINUED)
PEOPLEIN SECURITY CENTER
TECH AT COMPUTER
Hey, whats the deal on nineteen?
53-05
SCENE5- MCS- CATHERINE, SEATEDAT
THE END OF THE CONSOLE,LOOKSUP AT
MCCANN(TORSO)AS HE ENTERS R AND
STOPSBESIDE HER.
MCCANN
(face off)
Let up on yourself.
933 56.10
58.10/
2.0
934
59.4
61.10
2.6
MCCANNTO CATHERINE)
Youdid the right thing.
935
63.10
67.0
3.6
MCCANNTO CATHERINE)
Assumingthe son of a bitch showsup.
(the son of a bitch : referring to
Crown)
(shows up : arrives as expected)
(meanwhile, the Museum
Detective and
someother cops drive up to an
apartment building somewhere
in
Manhattan)
58-11
MCCANNTO CATHERINE)
Let up on yourself.
(colloquial for, Stop judgingyourself
so harshly.)

CATHERINE, LFG, TO MCCANNSTANDING
BESIDE HER.
MCCANN
Youdid the right thing.
MCCANNTURNS AND WALKS AWAY, CAMERA
FOLLOWING
HIM, OFF CATHERINE, TO
REVEALA CLOCKON THE WALLIN BG.
MCCANN
(contd)
Assuming
the son of a bitch shows(off) up.
MCCANNEXITS R AS CAMERACONTINUES
MOVINGIN ON THE CLOCK, WHICH SHOWS
THETIME IS 2:46.
67-13
SCENE 7-CS- CATHERINE LOOKS RFG AT
O.S. MCCANNFOR A MOMENT,THEN LOOKS
DOWNPENSIVELY.
71-13
- DAY - LS o
HIGH ANGLE - CAMERACRANESDOWNA
NARROWSTREET AS A CARAVANOF POLICE
CARSMOVEFG ALONGIT, SIRENS BLARING.
CAMERAHOLDSON THE CAR IN FRONT,
WHICHIS UNMARKED,AS IT COMESTO A
STOP AND SEVERALDETECTIVESGET OUT.
THE MUSEUMDETECTIVE IS AMONGTHEM,
AND HE SPEAKSTO THE DRIVER AFTER
GETTING OUT. UNIFORM COPS HURRY
FROMTHE OTHERPOLICE CARSIN BG.
(6AB- 261)
R/6AB PI3
COMBINED
TITLE
NO.
MASTERENGLISHSUBTITLE/SPOTrINGLIST
MUSEUMDETECTIVE
Mark, you stay with the car, and get a uniformed
936
93.0
98.12
5.12
DETECTIVETO COP)
Mark, stay here. Get a ur,!,%rmed manon
the fire escape.
(man:officer)
(fire escape: metal stairway attached
to the outsideof a building)
(back in the security room,a Manin
the center takes a call)
937
100.8
102.8
2.0
MAN TO MCCANN)
Detective.
(McCanntakes the receiver from the
Man,then listens)
938
108.4
113.4
(over scene end)
939
114.0
119.4
(over scene end)
manon the fire escape.

DETECTIVE MARK
Gotit.
THE MUSEUMDETECTIVE STARTS WALKING
L AROUNDTHE FRONT OF THE UNMARKED
CAR TO THE SIDEWALK, CAMERAPANNING
WITHHIM.
99-08
SECURITYCENTERDAY - MS - LOOKINGDOWNALONGTHE
BUSY CONSOLETO A MAN TALKING ON A
TELEPHONE. HE LOWERSTHE RECEIVER
AND SHOUTS LFG ACROSSTHE ROOMTO
O.S. MCCANN.
MAN IN SECURITY CENTER
(calling out) Detective.
MCCANNENTERSL AND WALKSTO THE~
MAN, WHOHANDSHIM THE RECEIVER.
MCCANN
Sh-sh-sh-sh-sh-sh-sh.(into telephone) Yeah?
5,0
Oh, goddamn
it. Sheleave anything be-...
112-01
SCENE10 - MCS- CATHERINETURNS
CURIOUSLYTO LOOKRFG AT O.S. MCCANN.
MCCANN
(off) (into telephone)
...-hind? All right, just stake out the wholeplace.
t 16-03
5.4
MCCANN)
(into telephone)
Goddamn
it. Did she leave anything
behind?
(she : it has not yet beenexplained
whoMcCann
is referring to [it will turn
out to be Anna])
(behind : in a place departed from)
MCCANN)
(into telephone)
Stake out the whole place. Maybeshell
comeback.
(Stakeout : police jargon for, Start
surveillanceof)
(6AB- 262)
R/6AB PI4
TITLE
NO.
MASTER
LIST
SCENE11 - MS - CATHERINESPOVLOOKING OVER THE HEADSOF MANY

SEATED TECHS TO MCCANNTALKING ON
THE TELEPHONE,HIS BACK TO CAMERA.
MCCANN
(into telephone)
Maybeshell comeback again. I dont know.
940
119.12
121.12/ 2.0
MCCANN)
(into telephone)
No, no.
941
122.4
126.0/
3.12
MCCANN)
(into telephone)
Is Jack there? Put him on the phone.
(Put him on the phone: i.e., Bring
him to the phoneso I can talk to him)
942
126.12
129.0
2.4
MCCANN)
(into telephone)
Get Jack.
(Catherinereacts curiously)
943
131.6
132.12
1.6
CATHERINETO MCCANN)(mouthing)
VVhat?
(i.eo, VVhatis goingon?)
No, no, no.

DETECTIVE
(off) (overlapping)
Hold on. Hold on. Just a second.
121-14
SCENE12 - MCS- CATHERINEGLANCES
DOWNTHOUGHTFULLY,THEN LOOKS RFG
AT O.S. MCCANN
AGAIN.
MCCANN
(off) (into telephone)
Is Jack there? Put Jack on the phone.
126-03
SCENE13 - MCS- CATHERINESPOVLOOKING OVER THE HEADS OF MANY
SEATED TECHS TO MCCANNTALKING ON
THE TELEPHONE,HIS BACK TO CAMERA.
MCCANN
(into telephone)
Get Jack.
MCCANNTURNSTO SEE O.S. CATHERINE
STARINGAT HIM.
129-13
AT O.S. MCCANN,MOUTHING"WHAT".
CATHERINE
(whispering) VVhat?
MCCANN
(off)
Forger.
134-05
(6AB- 263)
R/6AB PI5
TITLE
NO.
MASTER
SCENE15-MCS-LOOKING OVER THE

HEADSOF SEATEDTECHS, LFG, TO MCCANN
AS HE LOOKSPAST THEMAT O.S.
CATHERINE.
MCCANN
Youdidntthinkwejustdroppedthat,
didyou?
944
133.2
137.12
(over sceneend)
4.10
MCCANNTO CATHERINE)
The forger. Did you think we droppedthat?
(forger : i.e., person whoforged the
Monet)
(droppedthat : i.e., abandonedthat
investigation)
945
138.4
145.12/
7.8
MCCANNTO CATHERINE)
It wasa daughter, not a son, and she was
right underour nosesthe wholetime.
(It : TheKnutzhornchild)
(right underour noses: colloquial for,
in our immediate
area - directly
visible to us)
946
146.12 151.12
(over scene end)
5.0
MCCANNTO CATHERINE)
Tyrol AnnaKnudsen/Knutzhornwhatever.
(Knudsen/Knutzhorn: meaningthat
Annauses both last names)
(whatever : indicating that McCann
doesnt really care what Annaslast
nameis)
947
152.2
3.0
MCCANNTO CATHERINE)
Crowns knownher since she was10.
(10 : 10 years old)
948
/157.4 161.41
(over sceneend)
4.0
MCCANNTO CATHERINE)
VVhenher father wentto jail, he became
her guardian.
(guardian : legal guardian- adult
legally responsiblefor a minor)
Jack ran it downthis morning. It wasa daughter,

not a son, and she wasright under our nosesthe
whole time.
MCCANNREACHESDOWNFOR AN O.S.
ENVELOPE.
MCCANN
(contd)
Tyrol...
145-15
SCENE16 - MCSo CATHERINEREACHESUP
RFG TOWARDO.S. MCCANNAS HE TOSSES
HER THE ENVELOPE.
MCCANN
(off)
...Anna Knudsen/Knutzhorn...
CATHERINE CATCHESTHE ENVELOPEAND
OPENSIT.
150-09
SCENE17 o CS - CATHERINESHANDPULLS
ANNAS CRIMINAL RECORDOUT OF THE
ENVELOPE.
MCCANN
(off)
...whatever. Crowns knownher since she was
155.2
ten.
CATHERINES HANDSFLIP THROUGH
SEVERALPHOTOSOF ANNA, INCLUDING THE
ONE OF HER TALKING WITH CROWNON THE
SIDEWALK.
157-02
SCENE18 - CS - CATHERINESTARESDOVVN
AT THE O.S. CRIMINAL RECORD,STUNNED.
MCCANN
(off)
VVhen
her father wentt-...
158-07
(6AB- 264)
R/6AB PI6
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOTiINGLIST
SCENE19 - BLACK& WHITE FLASHBACK

BEGINS- INT. BALLROOM
- NIGHT- MCSCROWNKISSES ANNAS FOREHEAD,THEN
LOOKSRFG OVERAT O.S. CATHERINE.
MCCANN
(voice over)
...-o jail, Crownbecame
her guardian.
161-05
JUMP CUT TO:
KISSES ANNAS
FOREHEADAGAIN. (REPEAT OF SCENE19)
MCCANN
(voice over)
Put her throughcollege, for Christs sake.
949
161.12 164.81 2.12
MCCANNTO CATHERINE)
Put her through college.
(i.e., Paid for her collegeeducation.)
950
166.0
2.4
MCCANNTO CATHERINE)
She works for his company.
(McCann
turns back to the phone)
951
168.10 170.14
(over scene end)
2.4
MCCANN
TO JACK) (into telephone)
Jack, heres whatI want--
952
171.4
172.12/ 1.8
FEMALESECURITY OFFICER
TO GROUP)
Hesin.
(i.e., Crownhas enteredthe lobby.)
(everyoneturns to the monitors, which
showCrownentering the lobby)
953
173.4
174.12/ 1.8
SURVEILLANCETECHNICIAN#1
TO GROUP)
Got him.
(i.e., We have Crownon the
monitors.)
BLACK& WHITE FLASHBACKENDS.

164-10
SECURITYCENTER
- DAY - MCS- CATHERINE
LEANSBACKIN
HERCHAIR, LOOKINGAS IF SHE IS ABOUT
TO FAINT.
MCCANN
(off)
Nowshe works for one of his companies.(into
168.4
telephone)Jack, hey, heres whatI wantyou to...

169-12
SCENE22 - MS - MCCANNTURNSAWAY
FROMO.S. CATHERINETO TALK ON THE
TELEPHONE. OTHER SECURITY PERSONNEL
ARE STANDINGBEHIND HIM.
MCCANN
(into telephone)
...do, okay?Ju-MALESECURITY
OFFICER
(off)
Hesin.
(overlapping)
MCCANNTURNSLFG TO THE O.S. SECURITY

OFFICER.
172-14
SCENE23 - MCS- SURVEILLANCE
TECHNICIAN#1 SITS UP ATTENTIVELYAND
LOOKSR AT HIS O.S. MONITOR.
Got him.
174-13
(6AB- 265)
"THE THOMASCROWN
AFFAIR"
R/6ABP/7
COMEIINEDCONTINUITY& DIALOGUE
TITLE
NO.
MASTERENGLISHSUBTITLE/SPOTrlNGLIST
SCENE24 - CS - CATHERINEPERKSUP AND

TURNSTO LOOKLFG AT THE O.S, MONITOR.
MCCANN
(off) (into talephone)
Call you back.
177.4
2.0
MCCANN
TO JACK)(into telephone)
Ill call youback.
954
175.4
955
179.0
184.0 5.0
(over sceneend)
MCCANN
Thats him. Overcoatand briefcase.
(i.e., The manwhohas entered the
lobby is Crown.Hes wearing an
overcoatandcarrying a briefcase.)
956
/185.4
188.0/
2.12
PARETTITO MCCANN)
Wegot him.
(got : see)
957
188.8
193.0
4.8
PARETTITO MCCANN)
Center entrance. Grey overcoat.
178-01
HEADSOF SEVERAL SEATEDTECHS TO
MCCANNAS HE RAISES HIS WALKIE-TALKIE
TO HIS MOUTH.
MCCANN
Thats him.
180-07
SCENE28 - MCS- THE SURVEILLANCE
MONITOR SHOWSCROWNENTERING THE
MUSEUMLOBBY THROUGHA REVOLVING
DOOR. HE IS WEARINGAN OVERCOATAND
CARRYINGA BRIEFCASE.
MCCANN
Overcoatand briefcase.
185-03
LOBBY- DAY- CS PARETTI, SURROUNDED
BY PROCTORS,
TALKS ON HIS WALKIE-TALKIEAS HE LOOKS
LFG AT O.S. CROWN.
PEOPLE IN MUSEUM
PARETTI
Yeah, Mikey, we got him.
188-02
SCENE28 - MS - PARETTISPOV- LOOKING
THROUGHTHE CROWDEDLOBBY TO CROWN
AS HE WANDERS
L. CAMERAPANNINGWITH
HIM.
PARETTI
(off) (into walkie-talkie) (overlapping)
Center entrance. Grey overcoat.
CROWNPAUSESIN THE MIDDLE OF THE
LOBBY AND LOOKSAROUND.
193-12
(6AB- 266)
R/6AB PI8
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOBINGLIST

SECURITYCENTER
- DAY - MS - LENOXIS HOWSTANDING
BESIDE MCCANNBEHIND SEVERAL SEATED
TECHS.
LENOX
Bring up the lobby on the big monitor.
958
1193.14 196.8/
2.10
959
201.4
205.10
(overscene end)
4.6
196-09
SCENE30 - MCS- CAMERATILTS UP FROM
THE CONSOLETO A MONITORWHICH
SHOWS
A W~DE, HIGH VIEW OF THE ENTIRE
LOBBY. CROWN
IS STANDINGIN THE
CENTEROF THE LOBBY.
200-01
LENOX TO SURVEILLANCETECHNICIAN)
Put the lobby on the big monitor.
(meaningthat he should display the
image from the lobby security camera
on the large monitor in the room)
SCENE31 - CS - CLOSERON THE MONITOR,

WHICH SHOWSCROWNSTANDING IN THE
CENTEROF THE LOBBY.
MCCANN
Movein quietly.
202-15
SCENE32 - CS - CATHERINESTARESLFG AT
THE O.S. MONITORWITH CONCERN.
MCCANN
(off (into walkie-talkie)
Wedont wannamakea scene.
MCCANN
Movein quietly. Wedont want to makea
scene.
(Move in : Approach Crown)
(scene : unnecessarypublic display
of emotion,activity, etc.)
(Crownstands in the middle of the
lobby, then slowly turns in a circle)
CATHERINE
(under her breath) Tommy
....
209-00
SCENE33 - MCS- THE MONITORSHOWS
CROWNSTANDING IN THE CENTEROF THE
LOBBY, ABOUTTEN FEET IN FRONTOF THE
REVOLVING DOOR. HE TAKES OUT A
BOWLERHAT.
214-15
LOBBY- DAY- CS CROWNLOOKS AROUND, SMILING TO
HIMSELF.
PEOPLEIN MUSEUM
(off)
following scene)
219-02
(6AB- 267)
PJ6ABPI9
TITLE
NO.
LIST

SLOWLYTURNS
AROUND,SCANNINGTHE ENTIRE LOBBY.
225-09
SECURITYCENTER
- DAY - MCS- LOOKINGOVERTHE HEADSOF
SEVERAL SEATED TECHS TO MCCANNAS HE
STARESDOWNR AT THE O.S. MONITOR.
LENOXIS TIPPEDIN LFG BESIDEHIM.
MCCANN
Whatthe hells he doin?
960
227.4
228.14/ 1.10
MCCANNTO GROUP)
Whats he doing?
961
229.4
232.12/ 3.8
MCCANNTO GROUP)
Its like hes makingsure wesee him.
(in the lobby, Crowneyes the
surveillance cameras)
962
240.12
244.0/
CROWN
AS IF TO POLICE)
Lets play ball.
(sports metaphormeaningthat Crown
is readyto take on the police in a
gameof wits)
(Crownputs on a bowler hat and
movesoff)
228-15
CROWNSTANDINGIN THE MIDDLE OF THE
LOBBY, SLOWLYTURNING AROUND.
MCCANN
(off)
Its almost like he wants tomakesure that we
see him.
232-13
SCENE38 - CS - CATHERINESTARESLFG AT
THE O.S. MONITOR.
236-14
CROWNNOWFACING THE REVOLVING DOOR
WITH HIS BACK TO THE SURVEILLANCE
CAMERA. HE PUTS THE BOWLERHAT ON
HIS HEAD.
239-08
LOBBY- DAY- CS CROWNTURNS TO FACE CAMERA, WEARING
THE BOWLERHAT.
PEOPLEIN MUSEUM
(off)
following sceneanddialogue)
CROWN
Lets play ball.
CROWNSTARTS TO WALK R, CAMERA
PANNINGWITH HIM.
244-03
3.4
(6AB- 268)
"THE THOMASCROWNAFFAIR" R/6AB PII0

COMBINED
TITLE
NO.
MASTER
ENGLISH

THE
CROWDTO CROWNAS HE STRIDES R
ACROSSTHE LOBBY, CAMERADOLLYING
WITHHIM.
245-08
SECURITYCENTER
- DAY - MCS - THE MONITORSHOWSCROWN
WALKINGR ACROSSTHE BUSY LOBBY,
HEADINGTOWARDTHE GALLERIES.
MCCANN
There he goes. Bowler hat.
963
/245.12 250.0/
(over scene end)
4.4
MCCANN
There he goes. Bowler hat. Pick him up.
(Bowler hat : see Title #445
Wearinga bowler hat)
(Pick him up : i.e., Follow him)
(Paretti turns to his men)
964
251.4
253.12
2.8
PARETTI TO GUARDS)
Go. Moveit.
(Go: i.e., Go to follow Crown)
(Moveit : i.e., Movequickly)
965
255.0
258.8/
3.8
PARETTI TO GUARDS,THEN
TO WOMAN)
Quietly. Excuseme.
(Excuse me: note that Paretti says
this as he starts to movepast a woman
in the crowd)
(they start to moveafter Crown
Crownstops in a corridor and puts
downhis briefcase next to another
identical briefcase - he picks up the
secondcase and walks off - another
manalso in a bowler hat and overcoat
picks upthe first briefcase- Paretti
pushespast another womanas he tries
to pursue)
247-08
SCENE43 - MS - LOOKINGOVERTHE HEADS
OF SEVERAL SEATED TECHS TO MCCANNAS
HE TALKS ON HIS WALKIE-TALKIE. LENOX
AND OTHEROFFICIALS ARE STANDINGL
BEHIND THE TECHS.
MCCANN
Movein and pick him up.
250-02
LOBBY- DAY - CS PARETTI GIVES A SIGNAL TO ONEOF THE
GUARDSSTANDING AROUNDHIM.
PEOPLEIN MUSEUM
(off)
PARETTI
Go.
THE GUARDEXITS L, THEN PARETTI TURNS
TO ANOTHERGUARDSTANDINGIN RFG.
PARETTI(contd)
Moveit.
THE SECONDGUARDEXITS L.
PARETTI
(into walkie-talkie) (contd)
Quietly.
PARETTI STARTS TO MAKEHIS WAY
THROUGHTHE CROWD.
PARETTI(contd)
(to person in crowd) Excuseme.
258-09
(6AB- 269)
R/6ABP111
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOTFING
LIST

DOWNON CROWNAS HE STRIDES RBG
ACROSSTHE BUSY LOBBY, CAMERA
FOLLOWINGHIM TO REVEAL A LEATHER
BRIEFCASESITTING ON THE FLOOR.
261-12
SCENE46 - MCS- CAMERATILTS DOWN
FROMCROWNSBACK TO THE LEATHER
BRIEFCASEON THE FLOOR, WHICH
MATCHESTHE BRIEFCASE CROWNIS
CARRYING. CROWNPAUSES BESIDE THE
BRIEFCASE.
264-15
SCENE47 - ECS - CROWNSEYES LOOK
AROUNDCAUTIOUSLY.
266-10
SCENE46 - MCS- CROWNSHANDSETS
DOWNHIS BRIEFCASEAND TAKES THE
OTHER BRIEFCASE FROMTHE FLOOR AS
CAMERATILTS UP WITH IT. HE STARTS
WALKING RBG DOWNA HALL AS CAMERA
DOLLIESL AND PANSR WITH HIM.
270-14
SCENE49 - MCS- PARETTI PUSHESHIS WAY
THROUGHTHE CROWDAFTER O.S. CROWN,
FOLLOWEDBY COPS, DETECTIVES AND
SECURITY GUARDS, AS CAMERAMOVES
BACKWITH HIM.
PARETTI
Excuse me.
966
/271.0
272.12
1.12
PARETTI TO WOMAN)
Excuse me.
ANOTHER COP
Excuse me.
274-05
SCENE60 - MCS- A MANSHANDPICKS UP
CROWNSFIRST BRIEFCASE FROMTHE
FLOORAND STRIDES LBG WITH IT. CAMERA
TILTS UP WITH THE BRIEFCASETO REVEAL
THE MAN(WHOSEBACK IS TO CAMERA)
WEARINGAN OVERCOATAND BOWLERHAT
IDENTICAL TO CROWNS.
278-05
(6AB- 270)

TITLE
NO.
MASTER

SECURITYCENTER
- DAY - MCS- MCCANNLOOKSR DOWNAT
THE O.S. MONITORIN DISMAY. LENOXIS
TIPPEDIN L BESIDEHIM.
MCCANN
Shit, he switchedthe painting.
967
/278.8
280.12
2.4
968
281.4
284.12/ 3.8
(over scene end)
MCCANN
Stay with the painting.
(Stay with : Keeppursuing)
(Crown and the other manboth move
into extremelycrowdedsections of the
museum
- Paretti and the Guardshave
trouble following)
969
285.0
288.121 3.12
(over sceneend)
PARETTITOMCCANN)
What?Look, I cant-(Look : Listen)
(another manwearing an identical coat
and bowler hat passes by)
DETECTIVE
(off) (overlapping)
Oh, my God.
MCCANN
Staywith the...
281-13
DOLLIESIN ON
C.ATHERINEAS SHE STARESLFG AT THE
O.S. MONITOR,GROWING
EXCITED.
MCCANNTO GROUP)
He switchedthe painting.
(note that McCann
is assumingthe
Monetis in the briefcase)
MCCANN
...painting. Staywith the painting.
MAN(off) (overlapping)
Here we go.
DETECTIVE
(off)
Hold him.
284-14
LOBBY- DAY - MCS
- PARETTIS POV- CAMERA
SWISHPANSR
OVER THE HEADS OF THE CROWDTO
REVEALAN UNIDENTIFIABLEMANIN A
BOWLERHAT WALKINGLBG INTO A
HALLWAY.
PEOPLE IN MUSEUM
PARETTI
N-- What?Look...
287-01
SCENE54 - CS - PARETTISTOPSIN THE
MIDDLE OF THE CROWD,LOOKING AROUND
IN CONFUSION.
PARETTI
...man,I cant-PARETTI LOOKSUP LFG.
288-13
(6AB- 271)
"THE THOMAS
CROWN
AFFAIR"
R/6AB PI13
TITLE
NO.
MASTER
SCENE55 - FS - HIGH ANGLE- CAMERA

TILTS UP FROMTHE CROWDIN THE LOBBY
TO REVEAL ANOTHERMAN IN BOWLERHAT
AND OVERCOAT
WALKINGR UP THE STAIRS.
PARETTI
Oh. shit! Look. theres another one.
970
293-04

SECURITYCENTER
- DAY - MCS- CAMERA
DOLLIESIN ON
CATHERINEAS SHE STARESLFG AT THE
O.S. MONITOR.SMILING EXCITEDLY.
291.0
293.2/ 2.2
PARETTITO MCCANN)
(into telephone)
Theres another one.
(one : mandressedidentically to
Crowrl)
(in the security office, the monitorsnow
showdozensof menin similar hats
and coats movingthrough the
museum)
PEOPLEIN SECURITYOFFICE
296-12
SCENE67 - MCS- A MONITORSHOWSA MAN
IN OVERCOATAND BOWLERHAT ENTERING
A HALLWAY.PICKING UP A BRIEFCASEFROM
THE FLOORANDEXITING L WITH IT.
300-06
DOLLIESIN ON
CATHERINE; WATCHINGAND SMILING.
303-09
SCENE59 - MCS- ANOTHERMONITOR
SHOWSTHREE MEN IN MATCHING
OVERCOATSAND BOWLERHATS WALKING
PAST EACH OTHERIN THE INTERSECTION
OF TWOHALLWAYS. ALL THREE ARE
CARRYINGBRIEFCASES.
WATCHING
COP(off)
Whereis he?
307-05
SCENE60 - MS - LOOKINGOVERTHE TOPS
OF THE MONITORSTO LENOX AND THE
SECURITY PERSONNEL
STARING AT THEM IN
CONFUSION.
WATCHING COP
Whatthe hell?
309-08
(6AB- 272)

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOTrlNGLIST
FROMSURVEILLANCE
TECHNICIAN#2, LFG,
TO SURVEILLANCETECHNICIAN#1 IN RBG
AS THEYBOTHSTARER AT THEIR O.So
MONITORS.
Theres guyswith bowler hats...
971
310.10
312.10
2.0
972
313.0
316.4
(over sceneend)
3.4
TO GROUP)
...all over the goddamn
place.
973
/321.10 324.2
(over sceneend)
2.8
MCCANNTO CATHERINE)
Did you warn him?
(warn him : i.e., warn Crownthat we
wouldbe here)
974
324.12
2.8
No. No!
SURVEILLANCE
TECHNICIAN#1
...all overthe god-...
TO GROUP)
Thereare guysin bowlers...
(in bowlers : wearingbowler hats)
314-00
SCENE62 - CS - CATHERINE
GRINS.
SURVEILLANCE
TECHNICIAN#1 (off)
...-damn place.
CONFUSED
DETECTIVE#1 (off)
Whatabout that one?
CONFUSED
DEI~ECTIVE#2 (off)
No, thats not him.
CATHERINETURNSTO LOOK BACK OVER
HER SHOULDER,AND CAMERAPANS R
SLIGHTLY AND RACKSFOCUSTO REVEAL A
COPY OF THE MAGRITTEPAINTING OF THE
BUSINESSMANIN A BOWLERHAT HANGING
ON THE WALLIN BG.
321-07
SCENE63 - MS - LOOKINGOVERTHE HEADS
OF SEVERAL SEATED TECHS TO MCCANNAS
HE CALLS OUT LFG TO O.S. CATHERINE
SUSPICIOUSLY.
MCCANN
Did you warn him?
323-02
FROMTHE MAGRITTEPOSTERIN BG TO
CATHERINESFACE IN FG AS SHE TURNS
RFG TO O.S. MCCANN.
CATHERINE
What? No.
327.4/
MCCANN
(off)
Did you warn him?
CATHERINE
(overlapping)
No!
327-05
(6AB- 273)

TITLE
NO.
MASTER
ENGLISHSUBTITLE/SPOI"rlNG LIST

HEADSOF SEVERAL SEATEDTECHS TO
MCCANNAS HE TURNSTO LOOK R DOWNAT
THE O.S. MONITORS.
MCCANN
Then he knewyou were gonnabetray him.
975
329.0
331.6
2.6
MCCANNTO CATHERINE)
Thenhe knewyoud betray him.
976
331.12 333.12
2.0
SPECIAL POLICE #1 TO GROUP)

Theyre on the staircases.
(They : Crownand the other men)
977
334.2
338.14
(over scene end)
4.12
TO GROUP)
Nowwe havefour floors to keeptrack of.
(keep track of : maintain surveillance
CAMERATILTS DOWNTO REVEAL MUSEUM

SPECIAL POLICE #1 BENDINGDOWN
BETWEENTHE TWOSURVEILLANCETECHS.
MUSEUM
SPECIAL POLICE #1
Oh,shit, theyre goingfor the staircases.
Thatdo-...
334-13
SCENE66 - CS - CATHERINESTARESRFGAT
THE O.S. MONITOR.
SURVEILLANCE
TECHNICIAN#1 (off)
...-es it. Nowwegot four floors to keeptrack of.
MCCANN
(off)
Thatsonof a bit-...
of)
342-02
(meaningthat Crownand the other

identically dressedmenwill be on all
four floors of the museum)
CONSOLEPAST THE VARIOUS TECHS AND
SPECIAL POLICE TO MCCANNPOINTING R AT
THE MONITORSIN ANGER.
MCCANN
...-ch. Stay with him. This mandisappears,itll
be ten years before he sur-...
345-14
SCENE68 - CS - CATHERINELOOKSUP AND
ROLLS HER EYES.
978
341.0
347.12 6.12
(over scene ends)
MCCANNTO GROUP)
Stay with him. Hedisappears,itll be 10
years before he resurfaces.
(Stay with him : i.e., Continue
following Crown)
(He disappears: i.e., If Crown
disappears)
(resurfaces : makesanother public
appearance)
MCCANN
(off)
...-faces again.
CATHERINE
(grunts)
348-18
(6AB- 274)

TITLE
NO.
LIST
CONSOLEPAST THE VARIOUS TECHS AND
SPECIAL POLICE TO MCCANNAS HE LOOKS
BACKL AT LENOX.
MCCANN
Is the Impressionist Wingsealed off?
979
/349.0 351.8
(over scene end)
2.8
MCCANNTO LENOX, THEN

LENOX TO MCCANN)
-The Impressionist wings sealed off?
-Yes.
(wing : annexor area of a building)
(sealed off : closed so as to prevent
anyentry or exit)
980
351.12 355.10
3.14
MCCANNTO LENOX, THEN

GUARD#1 TO MCCANN)
-No wayto get in?
-The gates are down.
(in : i.e., into the Impressionistwing)
(gates : referring to the security gates
in the Impressionistwing)
981
356.0
360.6
(over sceneend)
4.6
LENOX TO MCCANN)
Hewont be able to return the painting to
that room.
(He : Crown)
(that room: ioe., the Impressionist
wing)
(more and more menin bowler hats
and overcoats appear in the museum)
LENOX
Completely.
MCCANN
Completely?Theres no way...
352-11
PANS L FROM
LENOX AND PAST SEVERALSECURITY
PERSONNELTO MUSEUMSECURITY GUARD
#1.
MCCANN
(off)
.... to getin?
The gates are downand weve got menon the
roof.
CAMERAPANS R TO LENOXAGAIN.
LENOX
(off)
If hes trying to put that painting (on) back,
guaranteeyouit wont be in...
358-12
SCENE71 - MCS- A MONITORSHOWSA
SEALEDGATE LOCKINGOFF THE MAIN
GALLERYAND ADJOINING IMPRESSIONIST
GALLERY.
LENOX
(off)
...that room.
SURVEILLANCE
TECHNICIAN#2 (off)
scene and dialogue)
MUSEUM
SPECIALPOLICE#1 (off)
Theyre...
362-10
(6AB- 275)

TITLE
NO.
MASTER
ENGLISHSUBTITLF.JSPOI-rlNGLIST
SCENE72 - MCS- CAMERARACKSFOCUS

FROMSURVEILLANCE
TECHNICIAN#2, LFG,
TO SPECIAL POLICE #1 STANDINGBETWEEN
HIM AND SURVEILLANCE
TECHNICIAN#1,
WHOIS IN RBG, AS THEYALL STARER AT
THE O.S. MONITORS
IN CONFUSION.
MUSEUM
SPECIAL POLICE #1
...coming out of the woodworks
here, guys.
SURVEILLANCE
TECHNICIAN#2 (overlapping)
I know. Whats the deal?
Theyre going up.
366-14
982
/362.12 366.12/ 4.0
SPECIAL POLICE #1 TO GROUP,

THEN SURVEILLANCETECHNICIAN#2
TO GROUP)
-Theyre everywhere.
-Whats the deal?
(They : The menin bowler hats)
(Whatsthe deal : colloquial for,
Whats going on?)
(Paretti and his menfollow someof the
bowler-hatted mento somestairs)

RAPIDLY PANSR
TO A MONITOR, WHICH SHOWSA NARROW
STAIRWAY CROWDED
WITH TOURISTS.
370-05
STAIRWAY- DAY MFS - LOOKINGUP THE CROWDED
STAIRWAYTO CROWNAS HE ENTERSL
FROMA HALLWAY,CARRYINGA BRIEFCASE.
PEOPLE IN MUSEUM
NINA SIMONE
(voice over)
(sings "Sinnerman"- continues under following
scenes and dialogue)
CROWNLOOKS AROUND, THEN STARTS
RUNNINGBG UP THE STAIRS. CAMERA
THEN TILTS DOWNTHE STAIRS AND PANS L
OVER A LANDING TO REVEAL ANOTHERMAN
IN A BOWLERHAT AND OVERCOATWALKING
DOWNA LOWERFLIGHT.
379-05
SCENE76 - MCS- DETECTIVESAND
SECURITY GUARDSTROT FG DOWNTHE
STAIRS, CAMERATILTING DOWNWITH THEM.
381-06
(6AB- 276)
".THE THOMASCROWNAFFAIR" R/6AB PI18

TITLE
NO.
MASTER

SECURITYCENTER
- DAY - MCS- A MONITORSHOWSTHE
DETECTIVES AND SECURITY GUARDS
RUNNINGDOWNTHE STAIRS PAST THE
LANDING.
384-13
SCENE77.o MCS- MCCANN
LOOKSR AT ALL
THE DIFFERENTMONITORSIN CONFUSION.
387-04
SCENE78 - CS - CATHERINETURNSTO LOOK
LFG AT SOMEOF THE O.S. MONITORS.
390-09
SCENE79 - MCS- A MONITORSHOWSA MAN
IN A MANIN BOWLERHAT AND OVERCOAT
WALKINGDOWNA HALL.
393-02
HALLWAY
- DAY
MS o CAMERAFOLLOWSTHE MANS LEGS AS
HE WALKSDOWNTHE HALL WITH A LEATHER
BRIEFCASE.
396-07
SECURITYCENTER
- DAY - MCS- A MONITORSHOWS
THREE
MEN IN BOWLERHATS AND OVERCOATS
PASSING EACHOTHERIN AN INTERSECTION
OF TWOHALLWAYS.
CONFUSED
DETECTIVE#1 (off)
(low) Hes going the other way.
CAMERARAPIDLY PANS TO THREE OTHER
MONITORSWHICH SHOWSMEN IN BOWLER
HATS AND OVERCOATSWALKING THROUGH
VARIOUS OTHERHALLS AND STAIRWAYS.
405-02
SCENE62 - CS - CATHERINEWATCHES
WITH
AMUSEMENT.
407-04
(6AB- 277)
"THE THOM;,S CROWNAFFAIR" R/6AB P119

COMBINED
CO;4TINUITY & DIALOGUE
TITLE
NO.
LIST
SCENE83 - INT. MUSEUM.

STAIRWAY
- DAYMCS- A MANIN BOWLERHAT AND
OVERCOAT
EXITS L UP SOMESTAIRS, THEN
CAMERASWISH PANS L AND TILTS DOWNTO
REVEAL ANOTHERMAN IN BOWLERHAT AND
OVERCOATCOMING UP FROM A LOWER
FLIGHT OF STAIRS.
PEOPLE IN MUSEUM
413-03
SCENE84 - MCS- THE MANPAUSESBRIEFLY
TO REVEAL HE IS CROWN.HE STARTS TO
TURN AROUND.
414-08
SCENE85 - MS - HIGH ANGLE- CROWN
TURNSAND LOOKSRFG UP THE STAIRS,
THEN STARTS TROTTINGUP THEM.
419-04
SCENE86 - INT. MUSEUM/ANOTHER
STAIRWAY- DAY - MFS- LOWANGLELOOKINGUP THE STAIRS TO PARETTI AS HE
COMESDOWNWITH OTHER SECURITY
PERSONNEL,TALKING ON HIS WALKIETALKIE.
PARETTI
What?
983
/419.8
424.0/
4.8
PARETTITOMCCANN)
What?What?Look, I cant hear you.
MCCANN
Whereare you?
PARETTI
Uh, eh, no. What?Look, I cant hear you.
424-03
SCENE87 - INT. MUSEUM/ANOTHER
STAIRWAY- DAY - MCS - CROWN
PAUSESON
A LANDING AND LOOKSAROUND,THEN HE
TURNSAND HEADSL TO ANOTHERFLIGHT
OF STAIRS AND STARTS TROTTING DOWN
THEMAS CAMERAPANS AND DOLLIES IN
WITHHIM.
434-04
(6AB- 278)

TITLE
NO.
MASTER
LIST

HALLWAY
- DAY MCS - CAMERAFOLLOWSTHE BRIEFCASES
OF TWOMEN IN OVERCOATS
AS THEY WALK
SIDE-BY-SIDE. THEYSPLIT UP, EXITING L
AND R, TO REVEALA THIRD MANIN AN
OVERCOAT
STANDINGBESIDE A BRIEFCASE,
WHICH IS SITTING ON THE FLOOR. CAMERA
DOLLIES IN ON THE BRIEFCASE, THEN
HOLDSAS THE MANPICKS IT UP ANDEXITS
L WITHIT.
441-09
SCENE89 - MCS- THE MAN(WHOIS ALSO
WEARINGA BOWLERHAT) WALKS L DOWN
THE CROWDEDHALL. CAMERASWISH PANS
R, OFF HIM, TO REVEALANOTHER
MANIN
BOWLERHAT AND OVERCOAT
EXITING R
DOWNANOTHERHALL IN BG.
445-05
SCENE90 - MCS - CAMERAFOLLOWSTWO
MEN IN BOWLERHATS AS THEY WALK DOWN
A HALL TOWARDA THIRD BOWLERHATTED
MAN who IS WALKING TOWARDTHEM.
CAMERAPANS R WITH THE THIRD MAN AS
HE PASSESTHEM, REVEALING A FOURTH
MAN FOLLOWINGHIM. CAMERAPICKS UP
ON THE FOURTHMANAND PANS WITH HIM.
452-02
SCENE91 - MCS- PARETTI PUSHESHIS WAY
THROUGHTHE CROWDEDHALLWAY,
CAMERAMOVINGBACK WITH HIM.
454-14
SCENE92 - MCS- PARETTIS POV- CAMERA
SWISH PANS BACK AND FORTHOVER THE
CROWD,REVEALING SEVERALMEN IN
BOWLERHATS MOVINGIN ALL DIRECTIONS.
459-08
SCENE93 - MCS- PARETTI GLANCESBACK
AT HIS SECURITY TEAMAS HE CONTINUES
PUSHING HIS WAY THROUGHTHE CROWD,
CAMERAMOVINGBACK WITH HIM.
463-04
(6AB-.279)

COMBINED
TITLE
NO.
MASTER
ENGLISH
SUBTITLF.JSPOIIINGLIST
SCENE94 - MCS- CAMERAFOLLOWS

PARETTI PUSHING HIS WAY THROUGHTHE
CROWD.
PARETTI
This is ridiculous. Hes got us running aroundin
984
/463.8
468.4
4.12
PARETTITO MCCANN)
This is ridiculous. Hehas us going in
circles.
(This : Trying to find Crownin the
crowdof bowler-hatted men)
(going in circles : colloquial for,
working fruitlessly - movingrandomly
in an attemptto locate him)
(Paretti and his mencontinue looking
for Crown)
985
/475.14
47818
2.10
MAN TO MCCANN)
Parettis trying to reachyou.
(reach you : i.e., contact you over the
walkie-talkie)
(the Manhands McCannthe walkietalkie)
986
479.0
481.12/ 2.12
circles.
PARETTI STOPS AND TURNSTO LOOKL AT
AN O.S. PAINTING. CAMERA
SWISH PANS L
TO REVEALIT IS THE ORIGINAL MAGRITTE
OF THE BOWLERHATTED BUSINESSMAN.
472-15
SCENE95 - MCS- PARETTILOOKSLFG AT
THE O.S. PAINTING AND FROWNS,GETTING
THE JOKE.
475-11
SECURITYCENTER
- DAY - MCS- LOOKINGOVERTHE HEADSOF
SEVERAL SEATED TECHS TO MCCANNAS A
MANLEANS OVERTO HIM IN RBG. LENOXIS
TIPPEDIN L.
MANIN SECURITY
CENTER
(face off)
Parettis (on) trying to reachyou.
MCCANN
RAISES HIS WALKIE-TALKIE TO HIS
EAR.
PARETTI
I cant-MCCANN
Yeah, I know, youre fucked, im comin down.
MCCANNTURNSAND STARTSTO EXIT L.
481-13
SCENE97 - MCS- CATHERINETURNSR TO
WATCHO.S. MCCANNLEAVE THE ROOM.
485-06
MCCANN
Youre fucked. Im comingdown.
(fucked : vulgar slang for, in an
unworkable
position - in trouble from
whichonecannotextricate oneself)
(down : downstairs)
(in the museum,Crownremovesthe
hat andovercoat - in another room,
McCann
joins Paretti)
(6AB- 280)
"THE THOMASCROWNAFFAIR" RJ6AB PI22

COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLFJSPOIrlNGLIST
SCENE98 - INT. MUSEUM/EGYPTIAN

WINGDAY - MCS- CAMERA
DOLLIES R OFF A WALL
FRIEZE TO REVEALA HANDSTUFFINGA
BOWLERHAT AND GREY OVERCOATINTO A
GARBAGECAN. CAMERATHEN PANS R TO
REVEAL THE HAND BELONGSTO CROWN,
WHOIS NOWWEARINGA CAMELHAIR
OVERCOATAND NO HAT. HE SLOWSHIS
GAIT AND WANDERSIDLY THROUGHTHE
GALLERY AS CAMERAFOLLOWSHIM FROM
BEHIND.
499-00
GALLERIES- DAYMS o MCCANNAND A SECURITY GUARD
COMERUNNING DOWNSOME STAIRS AND
HURRYR INTO A NARROW
GALLERY AS
CAMERAPANS WITH THEMTO REVEALIT IS
PACKEDWITH TOURISTS.
PEOPLE IN MUSEUM
(low andindistinct-chatter - continuesunder
MCCANNPUSHES HIS WAY BG THROUGH
THE CROWDAS CAMERACRANES UP OVER
THE HEADS OF THE CROWDTO REVEAL
PARETTI AND HIS TEAMPUSHINGTHEIR WAY
TOWARDMCCANNIN BG.
MCCANN
Hey.
PARETTI
What do we do?
987
507.4 509.4 2.0

(over sceneend)
PARETTI TO MCCANN)
Whatdo we do?-
988
509.12
MCCANNTO PARETTI)
Just start arresting people.
(they go to one of the menin bowler
hats and stop him)
508-02
SCENE100-MCS-PAST PARETTI, WHO
ENTERS RFG, TO MCCANNAS THEY MEET
EACH OTHERAND STOP. CATHERINEIS
PUSHING HER WAY TOWARDMCCANNIN BG.
PARETTI(o~
Whatdo(on) wedo?
MCCANN
Juststart arresting people. Comeon.
PARETTITURNSAROUNDAND EXITS RFG
WITH MCCANNAS CAMERARACKS FOCUS
TO CATHERINE, WHOSTOPS TO WATCH
THEM.
5t5-04
512.12
3.0
(6AB- 281)
R/6AB PI23
TITLE
NO.
LIST

LOBBY- DAYMFS- HIGH ANGLE- SEVERALSPECIAL
POLICE STOP A MANIN BOWLERHAT AND
OVERCOATBESIDE THE INFORMATIONDESK
AS CAMERACRANES DOWNTOWARDTHEM.
MUSEUM
SPECIAL POLICE #2
Excuseme, sir.
989
516.0
518.0
2.0
SPECIAL POLICE#2 TO
MAN IN BOWLERHAT)
Excuseme, sir.
(they open up briefcase the manwas
carrying - inside are numerouscopies
of the Magritte p~inting)
990
/524.4
526.4
2.0
MCCANN)
(reacting)
Shit.
(vulgar interjection of dismay)
(meanwhile, Crownwalks by the
ImpressionistGallery, whichis closed
off by the metal gates - he tosses
several smokebombsthrough the
bars, then hits the fire alarm- the
alarm sounds through the museum)
MUSEUM
SPECIAL POLICE #3
One moment.
MCCANNENTERS LBG AND WALKS UP TO
THE MAN, REACHINGFOR HIS LEATHER
BRIEFCASE.
520-05
SCENE102 - MCS- CAMERATILTS DOWN
FROMMCCANNSFACE TO THE BRIEFCASE
AS HE OPENSIT, AND NUMEROUS
COPIES
OF THE MAGRITTEPAINTING FALL OUT
ONTOTHE FLOOR.
524-01
QUICKLYTILTS UP
TO THE FACES OF PARETTI AND MCCANNAS
THEY TURNTO EACHOTHERIN
FRUSTRATION.
MCCANN
Shit.
MCCANNTURNSTO LOOK LFG AT O.S.
CATHERINE.
527-06
SCENE104 - MCS- CATHERINELOOKSDOWN
AT THE O.S. MAGRITTECOPIES AND STARTS
TO GRIN, THENSHE LOOKSUP RFGAT O.S.
MCCANNAND REGAINS HER COMPOSURE.
530-04
GALLERIESDAY - MCS- CAMERAFOLLOWSCROWN
(IN
HIS CAMELHAIROVERCOAT)AS HE
APPROACHES
THE GATE THAT CLOSES OFF
THE MAIN GALLERY.A SIGN IS PARTIALLY
VISIBLE BESIDETHEGATE, L:
[EXH]IBIT
[CLO]SED
534-08
(6AB- 282)
"THE THOMASCROWN
AFFAIR"
RJ6ABP124
TITLE
NO.
MASTER
DOLLIESWITH
CROWNSHANDSAS HE KEEPS WALKING R
" AND DISCREETLYPULLS THE SEALS OFF A
HANDFUL OF SMOKEBOMBS, TOSSING THEM
IN THROUGHTHE GATE.
537-03
GALLERYDAY - FS - HIGH ANGLE- LOOKINGSTRAIGHT
DOWNAT THE FLOOR AS THE THREE SMOKE
BOMBSROLL ACROSSIT FROMTHE GATE,
CAMERATILTING UP WITH THEM.
542-08
SCENE108 - MS o CAMERA
TILTS UP WITH
ONE OF THE SMOKEBOMBSAS IT ROLLS
UNDERA BENCH.
544-07
SCENE109 - MFS - ANOTHERSMOKEBOMB
COMESTO REST IN A DOORWAY,
L, THEN
EXPLODES, SENDING UP CLOUDSOF
SMOKE.
547-03
SCENE110 - MS - THE THIRD SMOKEBOMB
EXPLODESIN ANOTHERSECTION OF THE
GALLERY, SENDINGUP CLOUDSOF SMOKE.
548-06
SCENE111 - MS - THE FIRST SMOKEBOMB
EXPLODESUNDERTHE BENCH, SENDING UP
MORE SMOKE.
549-01
SCENE112 - MFS- THE SMOKERISES ALL
AROUNDTHE BENCH.
550-12
GALLERIESDAY - MCS- CAMERAFOLLOWSCROWNAS
HE.WALKSPAST A FIRE ALARMON THE
WALL AND DISCREETLYPULLS IT. HE
STARTS TO EXIT AROUNDA CORNERAS
CAMERAMOVESIN ON THE ALARM.
553-09
(6ABo 283)

TITLE
NO.
MASTER
LIST

LOBBY- DAYCS - PARETTI AND MCCANNLOOKUP AS THE
ALARMSTARTS TO SOUND.
991
MCCANN
I knewit.
MCCANNTURNS AND PUSHES HIS WAY RBG
THROUGHTHE CROWD, FOLLOWEDBY
PARETTI, AS CAMERAPANS WITH THEM.
MCCANN
(contd)
Excuse me.
PARETTI
Move.
558-t3
GALLERY
- DAY- FS - HIGH ANGLELOOKING DOWNAT A CORNEROF THE
GALLERYAS LARGEFIREPROOFWALLS
START SLIDING OUT OVERTHE PAINTINGS,
WHICH INCLUDE CROWNSPISSARRO
LOANERPAINTING.
562-13
555.4
557.4
2.0
MCCANNTO PARETTI)
I knewit.
(knewit : knewthis would happen)
(fire curtains close over the paintings,
rolling along on metaltracks o
however,rather than closing over the
spacewhich held the Monet[and which
nowholds the Pissarro], then cometo
a stop on either side of the frame,
preventedfrom closing by two pencils
which are jammed
in the tracks - the
sprinklers go on, spraying the room
with water - the colors on the Pissarro
start to run, pouringdownthe wall - the
imageof the Monetbegins to show
through underneath - McCannand
Paretti arrive at the Impressionist
wing - museum
goers mill about in
confusion)
PULLS BACK
ACROSSTHE GALLERY AS THE FIREPROOF
WALLS CONTINUETO SLIDE OUT OVER THE
VARIOUSPAINTINGS.
569-10
GALLERYDAY - MFS o CAMERAPANS L FROMONE
SIDE OF THE GALLERYTO THE OTHERAS
FIREPROOFWALLSSLIDE OVER THE
PAINTINGS. THE ROOMIS FILLING WITH
SMOKE.
574-15
SCENE118 - MCS- A FIREPROOFWALL
SLIDES R OVERAN 18TH CENTURY
PORTRAITOF AN OFFICERIN A RED COAT.
577-02
PANS L FROM
SOME FIREPROOF WALLS TO REVEAL
ANOTHER18TH CENTURYPORTRAIT OF AN
OFFICER AS ONE OF THE WALLSSLIDES
OVERIT.
580-01
(6AB- 284)
R/6ABP126
TITLE
NO.
MASTER
ENGLISHSUBTITLF.JSPOTTING
LIST

PANSR TO A
PAINTING OF SOMEARAB MEN ON
HORSEBACK
AS A FIREPROOFWALL SLIDES
OVERIT.
583-13
SCENE121 - CS - A FIREPROOF
WALLSLIDES
OVERA DEGASPAINTING OF BALLET
DANCERS.
586-03
SCENE122 - CS - A FIREPROOF
WALLSLIDES
OVERA WOMANSPORTRAIT.
588-11
GALLERYAS THE SMOKEFILLS IT AND THE
FIREPROOFWALLS CONTINUETO CLOSE.
591-14
DOLLIESL WITH
BILLOWING SMOKEAND A FIREPROOFWALL
AS THEY MOVEL OVER ANOTHER18TH
CENTURYOFFICERS PORTRAIT.
594-09
DOLLIESL WITH
THE WALL AS IT COMPLETELYOBSCURES
THE OFFICERS PORTRAIT.
597-00
SCENE126 - MS - BILLOWINGSMOKEANDA
FIREPROOFWALL SLIDE OVER ANOTHER
PORTRAITOF AN OFFICER IN AN ORNATE
UNIFORM.
598-07
SCENE127 - CS - THE FIREPROOF
WALL
COMPLETELYOBSCURESTHE PORTRAIT.
60t -02
SCENEt28 - MCS- ANOTHER
SET OF
FIREPROOFWALLS SLIDES OVERA
PAINTING OF THE MADONNA
AND CHILD AS
SMOKEBILLOWSIN FG.
605-05
(6AB- 285)
THE THOMASCROWNAFFAIR" R/6AB PI27

TITLE
NO,
MASTER
ENGLISHSUBTITLF.JSPOI-rlNG
LIST

GALLERY- DAY - MCS- CAMERA
DOLLIESIN
ON CROWNSPISSARROLOANERAS A SET
OF FIREPROOF WALLS APPROACHIT FROM
EITHER SIDE. CAMERAHOLDSON THE
PAINTING IN CS AS THEWALLSSUDDENLY
COMETO A STOPON EITHERSIDE OF IT,
THEN CAMERATILTS DOWNTO REVEAL THE
BOTTOMEDGE OF ONE OF THE WALLS.
616-01
SCENE130 - CS - THE BOTTOM
EDGEOF THE
FIREPROOFWALL IS STRAININGAGAINSTA
PENCIL, WHICHIS LYING IN THEWALLS
TRACK, BLOCKINGIT FROMMOVINGANY
FURTHER. CAMERAPANS L TO REVEAL
ANOTHERPENCIL BLOCKINGTHE OPPOSITE
WALL.
622-02
SCENE.131 - MFS - LOOKINGTHROUGH
A
DOORWAY
TO THE MAIN GALLERY, WHICHIS
ALMOSTCOMPLETELY
FILLED WITH SMOKE.
624-10
SCENE132- INT. MUSEUM/MAINGALLERYDAY - MCS- LOOKINGUP AT A CEILING
SPRINKLERAS WATERBURSTSOUT OF IT.
627-10
SCENE133 - MS - WATERSHOWERS
DOWN
FROMALL THE CEILING SPRINKLERS.
CAMERATILTS DOWNTO REVEAL THE
WATERPOURING OVER SEVERAL STATUES,
WHICH ARE SURROUNDEDBY SMOKE.
631-13
SCENE134 - MS - WATERPOURSDOWNON
RODINS "THE THINKER" STATUEAS SMOKE
BILLOWSAROUNDIT.
634-15
GALLERY- DAY - MS - LOOKINGAT TWO
CLOSED FIREPROOF WALLS AS WATER
SHOWERSDOWNOVER THEM.
636-t5
SCENE136 - CS -WATER SHOWERS
DOWNIN
FRONTOF A CLOSEDFIREPROOFWALL.
639-14
(6AB- 286)
FU6ABP128
TITLE
NO.
MASTER
SCENE137 - MS - LOWANGLE- CAMERA

SLOWLYZOOMSIN ON THE PISSARRO
PAINTING, WHICH IS UNPROTECTED
BY
FIREPROOF WALLS, AS WATERSHOWERS
DOWNON IT.
644-07
SCENE138 - CS o CAMERA
ZOOMSIN ON THE
PISSARROPAINTING AS ITS WATER-BASED
PAINT STARTSTO RUN.
649-00
HALLWAY- DAYMS - MCCANN,PARETTI AND THEIR TEAMS
RUSHR AROUNDA CORNER,PUSHING THEIR
WAY PAST CROWDS
OF TOURISTS, AS
CAMERAPANS WITH THEM.
PEOPLE IN MUSEUM
(low andindistinct excited chatter - continues
underfollowing dialogue)
PARETTI
Comingthrough. Comingthrough.
MCCANN
(overlapping)
(to Paretti) Get thesecivilians out of here, man.
992
650.12
654.0
3.4
MCCANNTO PARETTI)
Get thesecivilians out of here.
PARETTI
All right.
PARETTI SIGNALS FOR HIS MENTO MOVE
THE TOURISTS AWAY AS CAMERAFOLLOWS
PARETTI AND MCCANNBG DOWNTHE HALL.
654-07
GALLERY- DAY - CS - CAMERA
DOLLIESIN
ON THE PISSARROPAINTING AS THE PAINT
CONTINUESTO RUN IN THE DOWNPOUR.
657-00
SCENE141 - ECS - LOOKINGAT A SECTION
OF THE PAINTING AS THE PAINT RUNS,
REVEALINGANOTHERPAINTING IS HIDDEN
BEHINDIT.
664-05
SCENE142 - ECS - LOOKINGAT ANOTHER
SECTIONOF THE PAINTING AS THE HIDDEN
PAINTING IS SLOWLYREVEALED.
671-04
(6AB- 287)
"THE THOMASCROWNAFFAIR" ~6AB P129

TITLE
NO.
LIST
SCENE143 - MCS- THE PAINT RUNS

COMPLETELYTO REVEAL THAT THE HIDDEN
PAINTING IS THE STOLENMONET.
678-10
GALLERIESDAY - MCS- CAMERA
DOLLIESIN ON
MCCANN,WHOIS NOWSTANDING OUTSIDE
THE MAIN GALLERYSCLOSEDGATE, AS HE
SHOUTSRFG AT AN O.S. MUSEUMGUARD.
PEOPLEIN MUSEUM
(off)
MCCANN
Howdo we get this gate open?
993
/678.12 681.4
2.8
MCCANNTO PROCTORS)
How dowegetthisgateopen?
994
681.12
4.8
PARETTI TO PROCTORS)
Andkill the sprinklers in the Impressionist
wing!
(kill: turn off)
(the gates slowly open - McCann,
followed by someof the museum
personnel,hurry into the Impressionist
gallery - the Monetis nowhangingin
its space- there is a puddleof colored
liquid on the wall andfloor underthe
painting - SpecialPolice #1 touchesit)
MCCANNEXITS L TO REVEALPARETTI
STANDINGBEHINDHIM, TALKING
FRANTICALLYON HIS WALKIE-TALKIE.
CAMERAMOVESIN ON PARETTI.
PARETTI
Yeah,and, andkill the sprinklers in the
Impressionist Wingnow!
MCCANN
(overlapping)
Get everybody(off) out.
686-13
GALLERYDAY - MS - MCCANNSQUEEZESUNDERTHE
GATE AS IT SLOWLYRISES FROMTHE
FLOOR.
686.4
PARETII
(off)
Turn up the radio upstairs. Turn it up.
MCCANNSTANDS UP AND MAKES HIS WAY L
THROUGHTHE DENSE SMOKE, CAMERA
PANNINGWITH HIM, AS THE SPRINKLERS
SHUTOFF.
MCCANN
(coughs)
MCCANN WALKS THROUGHDOORWAYSINTO
THE IMPRESSIONIST GALLERY AS CAMERA
FOLLOWSHIM. HE PAUSESIN THE MIDDLE
OF THE GALLERY AS CAMERACONTINUES
MOVINGIN PAST HIM TO REVEALTHE
STOLEN MONET NOWFULLY EXPOSED
BETWEENTHE TWOFIREPROOFWALLS.
CAMERAHOLDSON THE PAINTING IN MCS.
721-09
(6AB- 288)

TITLE
NO.
LIST
SCENE146 - MS - CAMERASLOWLYMOVES
IN ON MCCANNAS OTHERDETECTIVESAND
MUSEUM
OFFICIALS JOIN HIM, ALL OF THEM
S1ARINGLFG AT THE O.So MONET.ONEOF
THE MUSEUM
sPECIAL POLICE (#1) EXITS
LFG TOWARDIT AS PARETTI COMESUP
BEHIND MCCANN.
725-02
SCENE147 - MS - LOOKINGAT THE BACKOF
SPECIAL POLICE #1 AS HE STOPSAND PUTS
HIS FINGER TO SOMEOF THE WATER-BASED
PAINT STREAKINGDOWNTHE WALL.
727-00
DOLLIESIN ON
THE SPECIAL POLICEMANSHAND AS HE
FEELS THE WATER-BASED
PAINT ON HIS
FINGERTIP.
MUSEUM
SPECIALPOLICE#1 (face off)
Its waterpaint.
995
728.4
731.0
2.12
SPECIAL POLICE #1 TO MCCANN).

Its waterpaint.
(It : Theliquid)
(water paint : paint whichcan
dissolve in water)
996
732.12
735.12
3.0
NARRATIVE
TITLE) (of plaque by painting)
Onloan from the collection of
Thomas Crown
997
737.12
743.121 6.0
CAMERA
TILTS UP, OFF HIS HAND, TO
REVEAL THE PLAQUEON THE WALL BESIDE
THE PAINTING:
On loan from the
collection of
Thomas Crown
PARETTI
(off)
Its beenhere the wholetime.
MUSEUM
DETECTIVE
Openthe...
736-10
SCENE149 - MS - CAMERASLOWLYCRANES
UP AND MOVESIN ON PARETTI AND MCCANN
AS THEY STARELFG AT THE O.S. MONET.
ALL THE OTHERDETECTIVES AND MUSEUM
OFFICIALS ARE CROWDED
BEHIND THEM.
MUSEUM
DETECTIVE
...fire curtains in the ImpressionistWing.
Fromwhat, uh, one, two days after the robbery?
743-13
PARETTI TO MCCANN)
Its beenhere since what--one, two days
after the robbery?
(It : The Monet)
(6AB- 289)
RJ6ABP131
TITLE
NO.
LIST
SCENE150 - MCS- THE SPECIAL

POLICEMANSHANDPICKS UP THE PENCIL
FROMTHE TRACKOF THE FIREPROOFWALL.
MUSEUM
SPECIALPOLICE#1 (face off}
Theres somethingjammedin the track..-
998
/744.0
747.0
3.0
999
749.10
751.10/ 2.0
NARRATIVE
TITLE)(of lettering on pencil)
CROWNACQUISITIONS
(the nameof Crowns company)
100C 753.2
757.4/
PARETTI TO MCCANN)
He returned it almost as soonas he stole
it.
(He : Crown)
(the fire curtains completelywithdraw
Another CoplOoks over at one corner)
1001 759.8
761.12 2.4
749-01
SCENE15t - ECS- THESIDE OF THE PENCIL
IS REVEALED.IT READS:
CROWNACQUISITIONS
SPECIAL POLICE #1 TO MCCANN)

Somethingsjammedin the track.
(he picks up a pencil fromthe track)
751-11
SCENE152 - CS - CAMERASLOWLYMOVES
IN ON MCCANNAS HE STARESLFG AT THE
O.S. PENCIL. PARETTIIS L BESIDEHIM.
PARETTI
Hereturned the damnthing practically as soon
4.2
as hestole it.
757-05
SCENE153 - MCS- CATHERINE,STANDING
NEARTHE DOORWAY,STARESLFG AT THE
O.S. PAINTING IN AWE. SEVERALMUSEUM
OFFICIALS AND COPS ARE GATHERING
BEHINDHER.
ANOTHER COP(on
Uh,sir?
CATHERINETURNSTO LOOK RFG AT THE
O.S. COP.
762-04
ANOTHERCOP TO MCCANN)
Uh,sir?
(everyoneturns to see that the painting
that wasin that corner [the painting
Catherinetold Crownshe liked] is now
gone- only the frame remains)
SCENE154 - MS - CATHERINESPOVCAMERASWISH PANS L FROMTHE BACKS

OF MCCANN,PARETTI AND THE DETECTIVES
AROUNDTHEM, TO REVEAL THE COP
STANDINGIN A CORNERAS THE FIREPROOF
WALLS RETRACTTO REVEAL AN EMPTY
PICTURE FRAME.
766-02
(6AB- 290)
R/6ABPI32
TITLE
NO.
MASTER
SCENEt55 - MCS- CATHERINESTARESRFG

AT THE O.S. PICTUREFRAMEIN
ASTONISHMENT.THE REST OF THE CROWD,
BG, ALSO TURNSTO LOOK.
CATHERINE
Oh, Lord.
1002 767.12
769.4
1.8
CATHERINE)
(reacting)
Oh, Lord.
1003
778.0
6.8
LENOX)
(reacting)
Dear, dear. This cant be. This simply
cant be.
(Dear, dear : mild expression of
concern)
(This : Thefact that another painting
has been taken)
LENOX
(off)
Oh, dear.
770-08
SCENE156 - MS - PASTTHE COP, LFG, TO
THE EMPTYPICTURE FRAME, NOWFULLY
REVEALED,AS LENOXWALKSUP TO IT.
LENOX
Dear, dear, dea-, d-- This cant be. This simply
771.8
cant be.
PARETTI.(off)
Now,howthe hell did he do that?
CAMERASWISH PANS R, OFF LENOX, TO
REVEAL MCCANN,PARETTI AND THE MEN
AROUNDTHEM, AS MCCANNTHROWSUP HIS
ARMSIN DEFEAT.
MCCANN
(groans) (sighs - continues underfollowing scene
and dialogue)
1004 778.8
781.12 3.4
PARETTI TO GROUP)
Howthe hell did he do that?
(the hell : collQquial emphatic)
(did he do that : did Crowntake that
painting)
(Catherineseesthat it is twenty
minutesuntil four oclock - she turns to
go)
783-14
SCENE157 - MCS- CATHERINELOOKSDOWN
AT HER O.S. WATCH.
MCCANN
(off)
(sighing) Man....
PARETTI
(off)
Hmph.
POLICEDISPATCHER
(overlapping)
scenes)
786-12
SCENE168 - ECS - CATHERINESHAND
PULLS BACK HER SLEEVE TO REVEAL HER
WATCH.THE TIME IS 3:40.
789-09
(6AB- 291)

COMBINED
TITLE
NO.
MASTER
LIST
SCENEt59 - MCS- CATHERINELOOKSUP

FROMHER O.S. WATCHAND THINKS,
REALIZING SOMETHING,AS CAMERA
SLOWLYDOLLIES IN ON HER. SHE SLOWLY
STARTS STEPPING BACK THROUGHTHE
CROWDOF COPS STANDING BEHIND HER.
808-09
GALLERYDAY - MFS- CATHERINEQUIETLY STEPS
BACK THROUGHTHE DOORFROM THE
IMPRESSIONIST GALLERY, THEN TURNSAND
WALKS RFG ACROSSTHE GALLERY AWAY
FROMTHE COPS, CAMERAPANNING WITH
HER TO REVEAL THE OPENGATE LEADING
OUT TO THE OTHERREGULARGALLERIES.
SHE HEADSTOWARD
IT.
MCCANN
(off)
Wherere you goin?
1005 818.0
820.4
2.4
MCCANNTO CATHERINE)
Whereare you going?
100(
823.8
826.0
2.8
Theoffice.
100;
827.8
830.0
2.8
Write up myreport.
1004 830.6
832.10
2.4
MCCANNTO CATHERINE)
Thejobs done, right?
affirmatively)
1001 836.0
842.8/
6.8
MCCANNTO CATHERINE)
Theother painting--why do you think he
chosethat one?
CATHERINESTOPS JUST SHORTOF THE

GATE AND TURNS AROUNDTO LOOK BACK
LFG AT O.S. MCCANNAS CAMERAMOVESIN
ON HER.
CATHERINE
Oh,office.
CAMERACIRCLES R BEHIND CATHERINETO
REVEAL MCCANNLOOKING AT HER FROM
ONE OF THE GALLERY DOORWAYS
IN BGo
CATHERINE
(contd)
Write up myreport.
CAMERAHOLDSIN MFS PAST CATHERINE,
RFG, TO MCCANN.
MCCANN
The jobs done, right?
CATHERINE
Yeah.
CATHERINE SLOWLY APPROACHESMCCANN
AS CAMERAFOLLOWSHER.
MCCANN
So, the other painting, uh, wh-whydo you think
he chosethat particular one?
CATHERINE STOPS A FEWFEET AWAYFROM
MCCANN.
842-09
(6AB- 292)
RJ6ABPI34
SCENE161 - MS - PAST MCCANN,LFG, TO
CATHERINE. COPS ARE WALKING OUT
THROUGHTHE OPEN GATE BEHIND HER IN
BG.
TITLE
NO.
LIST
101(
844.8
847.0
2.8
101
850.4
856.12/ 6.8
101;
858.8
863.0
4.8
Obviously,youll still haveto pursueit.
(it : the investigation)
101." 864.8
866.8/
2.0
MCCANNTO CATHERINE)
I dont give a shit.
(give a shit : vulgar slang for, care at
all - i.e., aboutgetting the painting
and/or Crown)
101~ 872.0
874.12 2.12
Youdont care if you catch him?
(catch him : apprehend Crown)
1015 875.4
878.4
3.0
MCCANNTO CATHERINE)
Ill do whatthey tell meto do.
(they : mysuperiors)
1016 882.10
884.10
2.0
Did you ever care?
(care : care about catching Crown)
1017 885.0
886.8/
1018 887.4
889.8
2.4
MCCANNTO CATHERINE)
He pissed meoff.
(slang for, He mademeangry.)
1019 890.8
895.0
4.8
MCCANNTO CATHERINE)
Look--the weekbefore I metyou...
(Look : Listen)
1020
900.0
3.12
MCCANNTO CATHERINE)
...I nailed two crookedreal estate agents...
(nailed : slang for, arrested)
(crooked: slang for, dishonestcriminal)
904.41
4.0
MCCANNTO CATHERINE)
...and a guy whowasbeating his kids to
death.
CATHERINE
I haveno idea. But, urn, (smackslips) its not
insured by mypeople, so Im out of it.
857-00
SCENE162 - MS - PAST CATHERINE,RFG, TO
MCCANNIN THE DOORWAY.
CATHERINE
Obviously, youllstillhavetopursueit.
MCCANN
Idontreallygiveashit.
866-09
CATHERINEAS SHE SMILES CURIOUSLY.
CATHERINE
Youdont care if you catch him?
MCCANN
(smackslips) Well, Ill
do whatthey tell me
do.
CATHERINE
Did you ever care?
MCCANN
Yeah.
1.8
I haveno idea.
But, its not insured by mypeople, so Im
out of it.
(it : that painting)
(my people : my employers)
(out of it : not involvedin the
investigationof its theft)
MCCANNTO CATHERINE)
Yeah.
886-08
TO MCCANNIN THE DOORWAY.
MCCANN
He pissed meoff.
MCCANNAPPROACHESCATHERINE,
STOPPINGIN CS.
896.4
MCCANN
(contd)
But look, the weekbefore I met you, I nailed two
crooked real estate agents and a guy who was
beating his kids to death.
904-06
1021 900.4
(6AB- 293)

TITLE
NO.
MASTER
LIST
SCENE165 o CS - PAST MCCANN,LFG, TO

CATHERINE.
MCCANN
Soif someHoudini wants to snatch a couple of
1022
905.4
907.12
2.8
MCCANNTO CATHERINE)
Soif someHoudini...
(Houdini: Harry Houdini, 1874-1926,
an Americanmagician noted for his
sensational escapeacts - used
colloquially to describe someone
who
performs amazingfeats as if by magic)
1023 908.4
914.0/
5.12
MCCANNTO CATHERINE)
...snatches someswirls of paint that are
only important...
(snatches : steals)
1024 /914.6
918.8
4.2
MCCANNTO CATHERINE)
...to somevery silly rich people...
1025 920.0 .
922.10
2.10
MCCANNTO CATHERINE)
...I dont really give a damn.
(give a damn: colloquial for, care at
all)
(Catherine smiles at McCann)
1026
929.12
2.8
Youre a good man.
(Catherine kisses McCann)
swirls of paint that are really only important...

914-02
MCCANN.
MCCANN
...to somevery silly rich people,I dont really
give a damn.
923-14
SCENE167-CS-PASTMCCANN, LFG, TO
CATHERINE.
CATHERINE
Youre ago0d man.
932-05
MCCANNAS CATHERINETAKES A STEP
TOWARDHIM.
937-01
927.4
SCENE169 - CS - PAST MCCANN,LFG, TO

CATHERINEAS SHE GIVES HIM TWOLIGHT
KISSESON THELIPS.
CATHERINE
(kissing sounds)
948-09
MCCANNAS CATHERINETAKES A STEP
BACK AWAYFROMHIM. HE NODSAT HER.
1027 951.12 957.0
5.4
(over sceneend)
MCCANN
Okay...get outta here. Andtell him...
954-14
MCCANNTO CATHERINE)
Get out of here. Andtell him I said hello.
(him : Crown- note that McCann
knowsthat Catherine is going to meet
Crown)
(6AB- 294)
R/6AB PI36
TITLE
NO.
LIST
SCENE171 - CS - PAST MCCANN,LFG, TO

CATHERINEAS SHE SMILES.
MCCANN
...I said hello.
MCCANNSTEPS BACK OUT OF FRAMEAS
CATHERINE STARTS BACKING TOWARDTHE
GATE. SHE STOPSSMILING, PRETENDING
TO BE CONFUSED.
CATHERINE
Ihavenoidea whatyouretalkingabout.
102E 959.6
962.10/ 3.4
(wryly feigning ignorance)
I dont knowwhatyoure talking about.
,102
965.2
MCCANNTO CATHERINE)
Go on.
962-11
SCENE172 o MCS- PAST CATHERINE,RFG,
TO MCCANNAS HE WATCHESHER BACK
AWAY FROMHIM, CAMERAMOVING BACK
WITH HER.
MCCANN
Goon. Anddont.stiff us for your phonebills.
970-07
963.8
1.10
103(: 966.10
970.6/
3.12
1031 978.14
981.4
2.6

LFG, TO CATHERINEAS SHE PAUSESNEAR
THE GATE.
CATHERINE
No.
MCCANN
Anddont stiff us fOr your phonebills.
(stiff us : slang for, not pay us for)
(your phonebills : referring to.the
chargeson the phonecalls Catherine
madewhile at the police station)
(Catherine exits the museum
and hails
a taxi)
CATHERINEWAVESGOOD-BYE, AND THEN

TURNSTO WALK OUT THE GATE.
976-02
SCENE174.- EXT. FRONTOF MUSEUM
- DAY o
MS - CATHERINERUNSL DOWNTO THE
BOTTOMOF THE STEPS AND ACROSSTHE
SIDEWALK TO THE CURB AS CAMERAPANS
WITH HER LEGS.
PEOPLE
ON STREET(faces off)
CATHERINE
(shouting) Taxi!
CAMERA
TILTS UP INTO FS AS A TAXI PULLS
UP TO THE CURB AND CATHERINERUNSTO
IT. SHE GETSIN THE BACKSEAT.
985-07
CATHERINE)
(calling)
Taxi!
(she gets in the taxi andit moves
off,
but the traffic is very slow)
(6AB- 295)

TITLE
NO.
MASTER
LIST
SCENE175 - EXT. NEWYORKSTREET- DAY FS - CATHERINESTAXI SPEEDSR DOWN

THE STREET, WEAVINGAROUNDTRAFFIC
AND HONKING, AS CAMERAPANS WITH IT.
IT TURNSAROUNDA CORNER.
995-10
SCENE
176 - INT. TAXI - DAY- MCSCATHERINERIDES IN THE BACKSEAT,
SMILING TO HERSELFAS SHE LOOKS-DOWN
AT HER O.S.~WATCH. SHE LOOKSBACK OUT
THE REARWINDOW
TO SEE THE TAXI IS
STUCKIN HEAVYTRAFFIC, THENTURNSTO
THE O.S. DRIVERANDPAYSHIM.
CATHERINE
Uh, you know, I-I-Im just gonnarun. Im gonna
run.
TAXI DRIVER(off)
Thankyou..
1032 1009.0
1013.0 4.0
CATHERINETO TAXI DRIVER)

Youknow,Im just going to run.
(run : run to mydestination)
(Catherinepays the Driver, gets out of
the taxi andruns to the building
housingthe Wall Street heliport - she
races through the building and heads
for the doorto the heliport)
CATHERINE
Thanks.
CATHERINE OPENS HER DOORAND STARTS
TOEXIT L.
1015-03
SCENE177 - EXT. FDRHIGHWAY
- DAY- FS CATHERINERUNS R ACROSSTHE BUSY
HIGHWAY, NARROWLYAVOIDING ONCOMING
TRAFFIC, AS CAMERADOLLIES AND PANS
WITH HER TO REVEALTHE PARKING LOT OF
THE WALL STREET HELIPORT. SHE RUNS
ACROSSTHE PARKING LOT TOWARDTHE
BUILDING.
1028-13
SCENE178 - INT. HELIPORTBUILDING- DAYMS - CATHERINERUNS IN THE FRONTDOOR
AND PUSHESPAST SOMEOTHER PEOPLE.
PEOPLEIN HELIPORT
CATHERINE
Excuse me. (pants)
MANAT HELIPORT
(overlapping)
Thatsall right.
(6AB- 296)
"THE THOMAS
CROWN
AFFAIR"
R/6AB PI38
TITLE
NO.
MASTER
CAMERAPANS WITH CATHERINEAS SHE
RUNS ACROSSTHE WAITING ROOMTO THE
REAR DOOR, WHICHLEADS OUT TO THE
HELIPORT LANDING PAD. CAMERAFOLLOWS
HER TOWARDTHE DOOR, THEN SWISH PANS
R, OFF HER, TO REVEALTHE RAMP
MANAGERSTANDING WITH ANOTHER
OFFICIAL.
RAMPMANAGER
(off)
Maam,you, uh0 cant (on) go out there without
1033 1038.0
1040.8/ 2.8
an escort! Maam!
1040-11
RAMP MANAGERTO CATHERINE)

Maam,you cant go out there!
(Catherine runs out to the empty
landing pad - a manwith an overcoat
and bowler hat stands with his back to
her)
SCENE179 - EXT. HELIPORTLANDINGPAD DAY - MCSo CAMERA

DOLLIES IN ON THE
REAR DOORAS CATHERINERUNS UP TO IT
AND LOOKSOUT THROUGHTHE GLASS.
RAMP MANAGER
(calling out) Ma-1044-08
SCENE180 - MLS- CATHERINESPOVLOOKINGACROSSTHE HELIPORT TO A MAN
IN BOWLERHAT AND OVERCOATSTANDING
AT THE WATERSEDGENEAR A WAITING
HELICOPTER. HE HAS HIS BACK TO CAMERA
AND IS HOLDINGA PORTFOLIO.
1046-00
SCENE181 - FS - CLOSERANGLEON THE
MAN, STANDINGWITH HIS BACK TO CAMERA.
1047-15
SCENE182 - MCSo CAMERA
DOLLIESIN ON
THE MANS BACK.
CATHERINE
(off)
(shouting) Tommy!
THE MAN STARTS TO LOOK BACK OVER HIS
SHOULDERAS CAMERASWISH PANS L, OFF
HIM, TO REVEALCATHERINERUNNING
TOWARDHIM. SHE STOPS SUDDENLYAND
REACTSWITH DISMAY.
1055-00
1034 1049.12 1051.12 2.0
CATHERINE)
(calling)
Tommy!
(the manturns - it is oneof the Crown
Impostors)
(6AB- 297)

SCENE183 - MS - THE MANTURNSAROUND
TO REVEAL HE IS ACTUALLYA CROWN
IMPOSTER. HE TAKES A FEWSTEPS LFG
TOWARD
O.S. CATHERINE,STOPPINGIN
MCS.
TITLE
NO.
=
103.
MASTER
1062.8
1065.0/ 2.8
CROWNIMPOSTORTO CATHERINE)
You would be Catherine?
affirmatively - the CrownImpostor
handsher a large portfolio case)
103E 1068.8
1071.14/ 3.6
Hewanted.you to havethis.
(this : whateveris in the case)
CROWNIMPOSTER
You would be Catherine?
1065-03
AT THE O.S. IMPOSTER.
CATHERINE
Yes.
1067-13
SCENE185 - MCS- THE IMPOSTERLOOKS
LFG AT O.S. CATHERINE.
CROWNIMPOSTER
He wantedyou to have this.
1071-15
SCENE186 - MCS- CATHERINELOOKS
DOWN,THEN CAMERATILTS DOWNTO
REVEALTHE IMPOSTERS HANDGIVING HER
THE PORTFOLIO.
1077-1
SCENE187 - CS - THE IMPOSTERSMILES
LFG AT O.So CATHERINE
ANDTIPS HIS HAT
TO HER.
CROWNIMPOSTER
Goodday, maam.
THE IMPOSTERSTARTSTO EXIT L.
1083-10
1037 1081.12 1083.8/ 1.12
Goodday, maam.
(the Impostorexits - Catherineopens
the case- inside is the painting that
was taken from the museum
- she
reacts)

TILTS UP FROM
THE PORTFOLIOTO CATHERINES
CONFUSEDFACE AS THE IMPOSTER WALKS
BG PAST HER.
1087-11
SCENE189 - CS - CATHERINESHANDSOPEN
THE PORTFOLIOTO REVEALIT CONTAINS
THE PAINTING RECENTLYSTOLENFROM
THE MUSEUM.IT IS EDOUARDMANETS
"REGATTA" (THE PAINTING OF THE WOMAN
AND CHILD WATCHINGBOATS).
1093-12
(6AB- 298)
"THE THOMASCROWN
AFFAIR" R/6AB PI40
TITLE
NO.
MASTER
SCENE190 - MCS- CATHERINELOOKSUP

FROMTHE O.S. PAINTING IN SHOCKAND
DISMAY. THE IMPOSTERIS WALKINGAWAY
IN BG.
1102-01
SCENE191 - FS - PAST THE IMPOSTER,
WALKINGAWAYIN LFG, TO CATHERINE
STANDING ALONE NEAR THE WATERS EDGE
IN BG, HOLDINGTHE PORTFOLIO.
1104-15
SCENE192 - FS - LOOKINGFROMTHE
WATERTO CATHERINESTANDING ON THE
LANDINGPAD WITH THE PORTFOLIOAS THE
IMPOSTERWALKSTOWARDTHE BUILDING IN
BG.
1107-05
SCENE193 - MLS - A MOREDISTANT VIEW
OF CATHERINEON THE LANDINGPAD.
1109-07
SCENE194 - LS - AN EVENMOREDISTANT
VIEW OF THE LANDING PAD AND THE WALL
STREETBUILDINGSBEHINDIT.
1111-07
SCENE195 - ELS - A STILL MOREDISTANT
VIEW OF THE LANDING PAD DWARFEDBY
THE TALL WALL STREETBUILDINGS.
1116-03
SCENE196 - INT. AIRPORTTERMINALNIGHTo FS - CATHERINE
STEPSR TO A
TICKET COUNTER,CARRYINGTHE
PORTFOLIO. OTHERPEOPLEARE WAITING
IN LINESIN BG.
1120-08
SCENE197 - MS - PAST A TICKET AGENT,
STANDINGRFG, TO CATHERINEAS SHE
STOPSIN FRONTOF THE COUNTER.SHE IS
WEARINGHER DARK GLASSES.
TICKET AGENT
Hi, there. Howcan i help you?
1038! 1120.12 1125.4 4.8
TICKET AGENTTO CATHERINE)

Hello. Howcan I help you?
(note that a dazedCatherine,still
holding the portfolio, has steppedup to
the femaleTicket Agentat the first
class counterat the airport)
(6AB- 299)

TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOI"FING
LIST
CATHERINEPLACESA CREDIT CARD ON THE
COUNTER.
CATHERINE
(smackslips) I havea reservation.
103~ 1128.4
1131.4
3.0
CATHERINETO TICKET AGENT)

I havea reservation.
(reservation : seat reservation on the
nextflight)
(Catherine handsthe Agent her credit
card)
104C 1134.0
1136.8
2.8

Miss Banning.
1041 1139.12 1143.4
3.8

Do you have any luggage today?
CATHERINEPICKS UP A SMALL BOOKLET

ANDSTARTSFILLING IT OUT.
TICKET AGENT
Okay. Miss Banning. (smacks lips) Will you
carrying any luggage today?
CATHERINE
No,
1146-04
TO THE TICKET AGENTAS SHE GLANCESUP
CURIOUSLYAT CATHERINE.
1149-01
1042 1144.0 1145.12 1.12

No.
(the Ticket Agenttypes into the
computer- Catherinewrites out a note,
then handsit andthe portfolio to the
Agent)
1043 1152.12 1155.8
2.12

Canyousee that this...
(this : this case)
1044 1161.8
7.0

...gets to this manat police headquarters?
This shouldtake care of it.
(this man: referring to McCann,
whosenameshe has written on the
note)
(This : Catherine hands the Agent an
unseen sum of money)
(it : the cost of delivering the case)
SCENE199 - MCS- CATHERINEFINISHES

FILLING OUTTHE O.S. BOOKLET,THENLIFTS
THE PORTFOLIOUP INTO VIEW.
CATHERINE
(sighs) Canyou see that this...
CATHERINEPLACES THE PORTFOLIODOWN
ON THE O.S. COUNTERAND LOOKSRFG AT
THE O.S. TICKET AGENT,
CATHERINE
(contd)
...gets to this manat police headquarters?This
1168.8
shouldtake care of it.

1168-15
TO THE TICKET AGENTAS CATHERINE
HANDSHER THE BOOKLET. THE TICKET
AGENT OPENS THE BOOKLET AND LOOKS
INSIDE TO DISCOVERA CARDAND SOME
MONEY.
1045 1171.14 1174:6 2.8
(over scene end)
TICKET AGENT
It probablywontget the-...
1173-14

It wontget there till morning.
(It : Thecase)
(there : to police headquarters)
(6AB- 300)
~6AB P142
COMBINED
TITLE
NO.
MASTER
ENGLISHSUBTITLEJSPOI-rlNGLIST
SCENE201 - MCS- PASTTHE TICKET AGENT,

TICKET AGENT
...-re until the morning.
CATHERINE
Thats fine.
104E 1174.12 1176.12 2.0

Thatsfine.
(the AgenthandsCatherineher ticket)
104"~ 1182.0

International flights are up the escalator to
yourleft.
(International : The departure gates
for international)
(Catherine, whois wearing sunglasses,
stares at the Agentwith no expression)
THE TICKET AGENTTAKES THE PORTFOLIO,

LEANINGBACK OUTOF FRAMEWITH IT.
TICKETAGENT(off)
To purchasefor international flights are up the
1187.12 5.12
escalatorto your left.

CATHERINENODS DISTRACTEDLYAND
STEPS BACK FROMTHE COUNTER,TAKING
HERTICKET.
TICKETAGENT
(off) (contd)
Maam...
CATHERINESTOPSAND LOOKSAT THE O.S.
TICKET AGENT.
1193-07
TO THE TICKET AGENTLOOKINGAT HER
WITH CONCERN.
TICKET AGENT
...is everythingall right?
104~ 1193.12 1196.4/ 2.8

Is everythingall right?
(i.e., Are youin a satisfactory
condition?)"
1049 1199.0

Everythingsfine.
(a short while later, Catherineboards
her flight andit takes off - sitting alone
in her row, Catherinestarts to sob - a
hand reaches over her seat and hands
her a handkerchief)
1196-08
SCENE203 - MCS- CATHERINESTARESRFG
AT THE O.S. TICKET AGENT.
CATHERINE
Everythingsfine.
CATHERINETURNSAND STARTS TO WALKR.
1202-15
1201.8
2.8
SCENE204 - MFS- CATHERINETURNSAND

WALKS BG AWAYFROMTHE TICKET
COUNTER.
1205-08
(6AB- 301)

TITLE
NO.
LIST
SCENE205 - INT. AIRLINE/FIRST CLASS

CABIN - NIGHT - LS - LOOKINGDOWNOUT
THE WINDOWTO THE LIGHTS OF
MANHATTANBELOW. CAMERATILTS UP
OVERTHE ENTIRE CITY, THENPULLS BACK
TO REVEAL CATHERINESEATEDBESIDE THE
WINDOWIN THE DARK. CAMERAHOLDS ON
CATHERINEIN CS AS SHE TURNSAWAY
FROM THE WINDOW.
1230-01
SCENE206 - MS - CAMERASLOWLYMOVES
IN ON CATHERINEAS SHE LIFTS A GLASSOF
WINE TO HER LIPS. HER HANDIS
TREMBLINGVIOLENTLY, AND SHE FINALLY
SETS THE GLASS DOWNAND STARTS TO
CRY.
CATHERINE
(cries)
CATHERINEBURIES HER HEADIN HER
HANDS, SOBBING MISERABLY, AS CAMERA
CONTINUESMOVINGIN ON HER INTO CS. A
HAND (CROWNS) ENTERS FROM THE ROW
BEHINDHER, R, ANDHOLDSA
HANDKERCHIEFOUT TO HER.
CROWN
(face off)
(in Scottish accent) Youdont needto cry there,
1050
1286.12 1290.12 4.0
lassie.
CATHERINETURNSTO SEE THE
HANDKERCHIEFAS CROWNSHAND-DROPS
IT IN HERLAP ANDRETREATSOUT OF
FRAME. SHE REMOVESHER DARK GLASSES
AND TURNSAROUNDIN SHOCK, THEN
CAMERAPANS R, OFF HER, TO REVEAL
CROWNSEATED IN THE NEXT ROW. HE
WAVESTO HER AS CAMERAPULLS BACK
SLIGHTLYTO AGAIN INCLUDEHERIN LFG.
CATHERINE
Did you set this up?
1051 1314.4
1317.12 3.8
CATHERINE TO CROWN)
(set this up : i.e., arrangethis entire
plan - referring to the return of the
Monet,theft of the other painting and
his seemingabandonmentof her)
105;
1324.8/ 2.6
CATHERINE TO CROWN)
Did you set this up?!
(furious, Catherineflings herself over
her seat and onto Crownand starts
pounding him)
CROWNSMILES CRYPTICALLY.
1321-05
SCENE207 - MCS- CATHERINESTARTSTO
CLIMB BACK RFG OVER HER SEAT TOWARD
O.S. CROWN.
CATHERINE
(shouting) Did you set this up?!
CROWNTO CATHERINE)
(in Scottish accent)
Youdont needto cry, lassie.
(lassie : Scottish term for, young
woman)
(Catherine peers over her seat and
seesCrownsitting behind her)
1322.2
1324-09
(6AB- 302)
"THE THOMAS
CROWN
AFFAIR"
R/6AB P144
TITLE
NO.
MASTER
LIST
SCENE208 o MFS - LOOKINGOVERSEVERAL

ROWSOF SEATS TO CATHERINEAND
CROWNAS SHE LEAPS BACK OVER HER
SEAT AND LUNGESAT CROWN
IN ANGER.
CATHERINE
(shouting) Why,I-- Did you set this up?! Did...
105:
1325.0
1327.10/ 2.10
CROWN
(overlapping)
(grunts and groans- continues underfollowing
CATHERINE TO CROWN)
(the Stewardessturns to Catherine
with alarm)
sceneand dialogue)
1327-11
SCENE209 - MFS - OTHERPASSENGERS
AND
A STEWARDESS
ALL TURN TO LOOK LFG AT
O.S. CATHERINE.
CATHERINE
(off)
(shouting) ...you?! Did you set this up?! Did
you?! (grunts)
THE STEWARDESS
LEANS TOWARDO.S.
CATHERINEAS CAMERAMOVESIN ON HER.
STEWARDESS
(overlapping)
Miss, please,the seat belt sign is still
105~ 1328.12 1334.0

on.
WEALTHY
WOMAN
(overlapping)
(low) Oh, for Gods sakes. (continues low
indistinct)
1334-11
SCENE210 - MCS CATHERINEAND CROWN
ARE NOWKISSING PASSIONATELY,
CATHERINESEATEDCOMFORTABLY
IN HIS
LAP.
CATHERINE & CROWN
(kissing sounds- continues underfollowing
5.4
STEWARDESS
TO CATHERINE)
Miss,please--theseat belt sign is still on.
(seat belt : straps used to hold
passengerin a car or airplane seat)
(the seat belt sign : referring to lit
signs throughoutthe plane, in the
shapeof a fastenedseat belt,
indicating that passengersmust keep
their seat belts fastened- this is to
insure passengersafety, should there
be a problemon the plane during the
first part of the flight)
(meaningthat Catherine shouldnt be
getting out of her seat)
(by now, Catherine and Crownare
kissing passionately, so the
Stewardessrelaxes)
scenes and dialogue)

1341-04
SCENE211 o MCS-THE STEWARDESS
WATCHESAND SMILES SYMPATHETICALLY.
STEWARDESS
Oh.
THE STEWARDESSTURNS AWAY AND
RESUMESATTENDING TO THE OTHER
PASSENGERS.
1348-13
(6AB- 303)
"THE THOMASCROWN
AFFAIR"
R/6AB PI45
MASTERENGUSHSUBTrrLE/SPOITING UST
SCENE212 - MCS- CATHERINEAND CROWN

CONTINUETO KISS PASSIONATELY.
1355-15
CROWNAS SHE FINALLY PULLS BACK FROM
THEKISS.
CATHERINE
(sighs contentedly)
CAMERASLOWLY MOVESIN ON CROWNS
FACEINTO ECS OF HIS LIPS AS CATHERINE
RUNS HER FINGER ALONGTHEM.
1055 1360.4
CATHERINE
(face off) (contd)
Ill tell youwhat.Youpull a stunt like that
again...
1362.12 2.8
1056 1363.12 1367.4
CAMERASTARTS PANNING L ALONG

CROVVNSCHEEKAS SCENEFADESTO
BLACK.
1368-14
3.8
CATHERINE TO CROWN)
Ill tell youwhat.
CATHERINETO CROWN)
Youpull a stunt like that again...
(pull a stunt: i.e,, engagein a
prank)
QUICKFADEIN:
SCENE214 - ECS o CAMERA
MOVESIN ON
CROWNSEAR AS CATHERINESLIPS MOVE
. TOWARD
IT ANDWHISPER.
1057 1369.12 1373.4 3.8
CATHERINE
(whispering)...111 breakboth your arms.
CATHERINE TO CROWN)
...111 breakbothyour arms.
SCENE IRISES OUT.

1374-04
SCENE215 - BLACKBG.
STING(voice over)
(sings "The Windmills Of Your Mind" - continues
underend credits)
ET#1 ROLLSUP:
Unit Production Managers ROGERPARADISO
MICHAEL TADROSS
First
Assistant Director
Second Assistant
Director
BRUCEG. MORIARTY
STEPHEN
DAVIS
(6AB- 304)

COMBINED
ITrn~l
NO.[
, MASTER,ENGUSHSUBTITLE/SPOTnNGUST
ET#1(contd):
This motion picture wasin no wayauthoiized, sponsoredor endorsedby
any museum,nor wasany portion of the motion picture filmed inside a museum.
Theevents, characters and other entities (including the museum)
depicted
in this motionpicture is fictitious, andanysimilarity to actual persons,
eventsor other entities is purely coincidental.
CAST
Thomas Crown
Catherine Banning
Michael McCann
Andrew Wallace
Paretti
John Reynolds
Golchan
Knutzhorn
Psychiatrist
Proctor McKinley
Proctors
PIERCE BROSNAN
RENE RUSSO
DENIS LEARY
BEN GAZZARA
FRANKIE FAISON
FRITZ WEAVER
CHARLESKEATING
MARK MARGOLIS
FAYE DUNAWAY
MICHAEL LOMBARD
BILL AMBROZY
MICHAELS. BAHR
ROBERT NOVAK
JOE LAMB
Paul Cheng JAMES SAITO
Anna Knutzhorn ESTHERCAI~IADAS
CrownsDriver
MISCHA HAUSSERMAN
Petru DANIEL ORESKES
Dimetri DOMINICCHIANESE,JR.
Janos RITCHIE COSTER
Iggy GREGGBELLO
Senior Detective JOHN P. McCANN
Freight Truck Driver GINO LUCCI
Senior MuseumGuard GEORGECHRISTY
Forklift Operator MIKE DANNER
J.J. the Security Guard JAMESJ. ARCHER
NewYork City Cop JOHN ELSEN
CrownSecurity Officer
ROBERTSPILLANE
Sam DANIEL JAMAL GIBSON
Crowns Secretary CYNTHIA DARLOW
Crown Employees SHERRY KOFTAN
JANE DeNOBLE
GENE BOZZI
RYAN HECHT
PAUL SIMON
Businessman TOM TAMMI
Bulldogs MARKZEISLER
MARK ZIMMERMAN
CrownExecutives DAN SOUTHERN
JAMES YAEGASHI
Old Man IRA VVHEELER
Son DAVID ADKINS
CompanyLawyer JOHN A. MacKAY
Teacher MELISSA MAXWELL
Schoolgirl COLLEEN HAMM
(6AB- 305)
R/6ABP147
I~-~I
MASTERENGLISHSUBTITLE/SPOTRNG
UST
~ NO. ~
ET#1(contd)"
MuseumSecurity Tech
MuseumSecurity Guards
Junior Proctor
SmokingKids
Lenox
National Arts Club Guests
Crowns Caddie
MuseumOperating Tech
WomanSpectator
Gentleman Yachtsman
Detectives in Restaurant
Cipriani Waiter
Male Associate
Cleaning Men
Art Inspector
Lab Technician
Jeweler
SecondJeweler
Detective-Museum
Museum
Special Police
MuseumDetective
Watching Cop
Another Cop
Uniform Cop
CrownImposter
Ticket Agent
Stewardess
RampManager
Wealthy Woman
Featured Dancers
Band
Stunt Coordinator
Stunt Players
TIMOTHY WHEELER
JOHN THRALL BUSH
DOMINIC MARCUS
ROBERT STEPHENSON
DAVID TONEY
PHILLIP DOUGLAS
JEFFREY DREISBACH
R. J. REMO
CALEB ARCHER
DENNIS CREAGHAN
RANDYPHILLIPS
GLORIA BARNES
MIMI WEDDELL
PAT FRIEDLANDER
GARYL. CATUS
JEREMY NAGEL
JOHN C. HAVENS
ANNIE ROSE MURRAY
BILL TATUM
TEDDY COLUCA
MICHAEL CHARLES
ORLANDOCARAFA
BEN EPPS
KIM D. CANNON
DOUGLASKAHELEMAUNANAM
RICHARD RUSSELL RAMOS
JOHN SEIDMAN
ROBERTIAN MACKENZIE
YUSEF BULOS
RAY VIRTA
THOMASMICHAEl: SULLIVAN
J. PAUL BOEHMER
TONY CUCCI
PAUL GEOFFREY
R. E. RODGERS
THOMASRICHARD BLOOM
KIM CRAVEN
MARION McCORRY
SEAN HABERLE
MIKEL SARAH LAMBERT
ANGELOFRABONI
MELANIELaPATIN
JODI MELNICK
TONY MEREDITH
MICHAEL TERRACE
CHICOOFARRILLS
AFRO-CUBAN ORCHESTRA
FRANK FERRARA
JOHNNY"C"
JOHN COPEMAN
FRANKFERRARA,JR.
RALPH FERRARA
TONY GUIDA
KEITH SIGLINGER
(6AB- 306)
~I"HE THOMAS
CROWN
AFFAIR"
R/6ABPI48
MASTERENGUSHSUBTrrLE/SPOTIING UST
ET#1(contd):
BoatStunts
Pilots
Associate Producer
Supervising SoundEditor
Re-Recording SoundMixers
Music Consultant
TOMASF. GONZALEZ
DORIS F. GROVE
ANDREWPHILLIPS
AL CERULLO
CLIFF FLEMING
THOMAS KNAUFF
HEINZ G. WEISSENBUEHLER
BRUCEG. MORIARTY
GEORGEWATTERSII
MICHAEL MINKLER
FRANKA. MONTAI~IO
RANDALL POSTER
Art Director
Set Decorator
Assistant Art Directors
DENNIS BRADFORD
LESLIE ROLLINS
PAUL D. KELLY
HUGH LANDWEHR
ADAM SCHER
CameraOperator PHIL OETIKER
First Assistant Camera ALAN DISLER
SecondAssistant Camera ZSOLT KADAR
Loader KERSTiN STOCK
Still Photographer BARRY WETCHER
Video Assist GLENN D. BLOOM
Script Supervisor CORNELIA"NINI" ROGAN
Production Coordinator TERRYELLEN LADIN
Accountant ROSANNEVOGEL
Chief Lighting Technician GENE ENGELS
Assistant Lightning Technician WILLIAM HINES
Key Grip JIMMY FINNERTY,JR.
Second CompanyGrip
WILLIAM M. WEBERG
Dolly Grip BILL JONES
Rigging Lighting Technician FRANCIS "BUDDY" McBRIDE
Rigging Grip RONNIE PLANT
Location Manager
Assistant Location Manager
SecondSecondAssistant Director
Additional SecondAssistant Director
CHARLES ZALBEN
PAUL KRAMER
MICHAELPITT
PETER SOLDO
(6AB- 307)
"THE THOMASCROWNAFFAIR" RJ6AB P149

MASTERENGUSHSUBTITLE/SPOTTINGUST
ET#1(contd):
First AssistantEditor BARBARA DUNNING
AvidAssistantEditor TODD ZONGKER
AssistantEditors MARKLIVOLSI
KYLE ANN STOKES
MELISSA CARTER
TERRY SZOSTEK
Editing Production
Assistants ERIC ESKENAZI
PATRICK RUFF
SoundEditors
SupervisingDial Editor
Dial Editors
Supervising ADREditor
ADREditors .
SupervisingFoley Editor
Foley Editors
AssistantEditors
Recordists
FoleyArtists
Foley Mixer
Foley Recordist
ADRMixer
ADRRecordist
ADRVoice Casting
Production SoundRecorder
BoomOperator
Cable
F. HUDSONMILLER
R. J. PALMER
SUHAIL KAFITY
GARY WRIGHT
TERI E. DORMAN
DAVID ARNOLD
KAREN SPANGENBERG
JUNOJ. ELLIS
DENISE HORTA
STEPHENJANISZ
VICTORIA MARTIN
MATTHEWHARRISON
JAMESLIKOWSKI
MARVAFUCCI
DEL SPIVA
MELISSA LYTLE
MARC DESCHAINE
CHRIS INGRAM
MATTHEWR. COLLERAN
SEAN G. ENGLAND
DAN OCONNELL
JOHN CUCCI
JAMES ASHWlLL
LINDA LEW
THOMASJo OCONNELL
RICK CANELLI
BARBARAHARRIS
TOM NELSON
DANIEL ROSENBLUM
TOMMYLOUIE
SupervisingMusicEditor CHRIS McGEARY

AssistantMusicEditor
RICHARDC. STEWART
Orchestrations by JACK ESKEW
Music Scoring Mixer DAN WALLIN
Orchestra Manager NATHAN KAPROFF
Music Preparation BOB BORNSTEIN
Electronic Music Production ASHLEY IRWIN
Assistantto Mr. Conti GIGI SAVERYFORREST
(6AB- 308)
"THE THOMASCROWNAFFAIR" R/6AB PISO

MASTERENGLISHSUBTITLE/SPOTTINGUST
COMBINEDCONTINUnY, DIALOGUE
ET#1(contd):
Assistant CostumeDesigner
WardrobeSupervisors
SUSAN CARRANO
MICHAEL ADKINS
HARTSELL TAYLOR
Key Make-up STEVEN LAWRENCE
Make-upfor Mr. Brosnan BRON ROYLANCE
Make-upfor Ms. Russo SHANEPAISH
KeyHair Stylist
ROMAINE GREENE
Hair for Mr. Brosnan RICK PROVENZANO
Ms. Russos Hair Designedby ENZOANGILERI
Property Master
Assistant Property Master
Art DepartmentCoordinator
Assistant Set Decorator
Leadman
Illustrator
Set Dressers
TOM SACCIO
JIM ARCHER
JULIA HICKMAN
CHRISTINE MOOSHER
DAVE WEINMAN
JAY DURRWACHTER
JOSEPH"JOBY" DeLUCA
WAYNE BRACKETT
DAMIENJ. COSTA
DENNIS FREEBORN
ERIC LEWlN
RICHARD NELSON
Construction Coordinator KEN NELSON

Construction Foremen JOHN R. JOHNSTON
STEVENE. LAWLER
Construction Grip PETE BETULIA
Scenic Foreman ERNEST FOSTER
Scenic Charge JOSEPH GARZERO
StandbyPainter JOHN WOLANCZYK
Special Effects Coordinator CONRADF. BRINK
Special Effects Foreman JEFF BRINK
Transportation Captain
Transportation Co-Captain
STEVE HAMMOND
GENEONEILL
Unit Publicist
Assistant Production Coordinator
Production Secretaries
ROB HARRIS
M.J. MAGBANUA
AUDRA ESPOSITO
KATHERINE TORRES
Assistant Accountants HERB HETZER
JOE BUDA
ORONDEGIDDINGS
TOMOKO YAMAMOTO
Assistants to Mr. McTiernan DOUGLASNAM

JAMES STANKARD
Assistant to Mr. Brosnan JEFF WADLOW
Assistant to Ms. St. Clair
AMANDAJ. SCARANO
Assistant to Mr. Tadioss SANTENAJENARIS KING
Assistant to Mr. Paradiso BRETTWEINER
(6AB- 309)
THE THOMASCROWNAFFAIR"
R/6ABPI51
COMBINED
CONTINUrrY & DIALOGUE
1 NTINT~.
J
MASTER
ENGLISHSUBTITLE/SPOI"rlNGUST
ET#1(contd):
Assistantsto Ms. Russo HEIDE SCHWARTZ
LIDA MIHAYLOVICH
Assistant to Mr. Leary TOMSELLITTI
Production Associate CYNTHIA PALORMO
Casting Assistants
MICHAEL BAER
SARAH SPEARING
DGATrainee
JEN ACOMB
Stand-In for Mr. Brosnan TONY McCOOL
Stand-In for Ms. Russo ANNA MARIE WIEDER
Stand-In for Mr. Leary T. STEFANGESEK
Production Assistants NElL LEWIS
DEANNALESLIE
JESSE NYE
ANDREA OCONNOR
PEGGY-JEANROBINSON
MICHAELTADROSS,JR.
JILL OLINSKY
MICHAEL BUONO
Extras Casting by SYLVIA FAY CASTING
Choreographer JOHN CARRAFA
Caterer PETER STARKMAN
Craft Service THE McKENNA BROTHERS
Picture Cars GINO LUCCI
COLUMBOSAGGESE
Security MILTON MALDONADO
Mr. BrosnansTrainer RICH BARETTA
Technical Consultant EVA NORVIND
Parking EDDIE JOE
CECILE GEORGE
24-Frame Video JOE TRAMMELL
SECONDUNIT
SecondUnit Directed by
SecondUnit Director of Photography
First Assistant Director
SecondAssistant Director
Production Supervisor
ProductionAssistant
Art Director
CameraOperator
First Assistant Camera
Second Assistant Camera
JOHN SULLIVAN
JOHN SULLIVAN
JONATHAN WATSON
JAMIE MILLER
EDDY COLLYNS
GENEGILLESPIE
TERESA CARRIKER-THAYER
JOHN SOSENKO
ROBERT PAONE
STANLEY FERNANDEZ
PHIL TODD
SPACECAM
Operator
RONALD C. GOODMAN
Video Playback ALAN MANGER
Chief Lightning Technician LOWELL SCHULMAN
Key Grip TOM KERWICK
Location Coordinator JEFFREY STOLOW
Marine Coordinator LANCEJULIAN
CatamaranCoordinator
ROY SEAMAN
Picture Boats RALPHLUCCI
Transportation Co-Captain MICHAEL FENNIMORE
(6AB- 310)

COMBINEDCONTINUrFY& DIALOGUE
I TrrLEI
i NO.i
MASTERENGUSHSUBTrn.E/SPOTrlNG UST
ET#1(contd):
Additional Aerial PhotographyDirected by
Visual Effects
MISCHA HAUSSERMAN
by PIXEL MAGIC
Digital Effects Supervisor RAYMOND

MclNTYRE JR.
Executive Producer RAY SCALICE
Digital Compositing JIM GORMAN
TYLER FOELL
CGModeling JUAN VARGAS
Scanning & Recording VICTOR DiMICHINA
Production Supervisor REID PAUL
Additional Digital Effects by POPFILM
Association was present on set to
AMERICAN AmericanHumane
[logo]
HUMANE
monitor the animal action. Someprosthetic animals were
ASSOCIATION. used. No animal,washarmedin the makingof this film.
AHA90527-1
THE PRODUCERS
WISH TO THANK:
The NewYork State GovernorsOffice for
Motion Picture and Television Development
The Mayors Office For Film, Theatre & Broadcasting, City of NewYork
NYPDMovie/TV Unit
The City of Yonkers, NewYork
The HonorableJohn Spencer, Mayorof the City of Yonkers
EdwardA. Sheeran, Special Assistant to the Mayor
Wardrobefor Pierce Brosnanhand-tailored by Gianni Campagna,
Milano
Select Wardrobefor ReneRussoprovided by Celine by Michael Kors
Select Tailored Clothing for Denis Leary provided by Canali
MensFurnishings provided by Turnbull & Asser
Fur provided by MichaelKors for Pologeorgis Furs
Canadair Challenger 604 provided by Bombardier
Pelco Security Surveillance Equipment
NASA
Cynthia Wolff
Bally Management
TroubetzkoyPaintings Ltd. - Christopher Moore
For Stars Catering, Co.
Lucent Technologies
Stop and Shop, Inc.
BULGARI
(6AB- 311)

MASTERENGUSHSUBTrrLE/SPOFrlNG UST
ET#1(contd):
Filmedin part on location in Martinique
Production Services in Martinique by Les Films du Dorlis
SPECIAL THANKSTO:
MartiniqueTourist Office
Senator RodolpheD(~sir~, President
JacquesGuannel, Director General
Martinique Promotion Bureau USA
Muriel Wiltord, Director
Sylvie R~gina
"SINNERMAN"
Adapted by Nina Simone
Performed by Nina Simone
Courtesy of Mercury Records
Underlicense from Universal Music Special Markets
"THE COMPLICATEDMAN"
"UFO GET-GO"
"BACK PORCH"
Written and Performedby JamshiedSharifi
Courtesyof Shizuka, Ltd.
"TANGOBALLAD"
Written by Kurt Weill and Bertolt Brecht
from The ThreepennyOpera- Original BroadwayCast
Music Conducted by SamuelMatlowsky
Courtesy of Polydor Records
"THE WINDMILLSOF YOURMIND"
Written by Michel Legrand, Marilyn Bergmanand Alan Bergman
Arranged by RobMiddleton
Performedby ChicoOFarrill andhis orchestra
Produced by Todd Barkan and Jim Dunbar
"CUMENCO"
Written by Raf S. Astor and Eddie Bobe
Performedby the Cumenco
All-Stars
Produced by Todd Barkan and Jim Dunbar
"EVERYTHINGIS NEVERQUITE ENOUGH"
Written by WasisDiop0 Xavier Derouin and Beth Hirsch
Performedby Wasis Diop
Courtesy of Mercury Records
"CABANLA KA KRATCHIE"
Written and Performedby GeorgesFordant
Courtesyof DeClic Martinique
(6AB- 312)
"rilE
THOM~;SCROWN
AFFAIR"
R/6AB PI54
MASTERENGUSHSUBTITLE/SPOI"nNGUST
ET#1(contd):
"TOUBLIES TOUT"
Written by Jean-MarcMonnerville and RemyBellenchombre
Performedby Kali
Courtesyof DeClic Martinique
"THE WINDMILLSOF YOURMIND"
Written by Michel Legrand, Marilyn Bergmanand Alan Bergman
Performedby Sting
Sting appears Courtesy of Interscope Records
The paintings
Certain Uncertainties 1996by CHRISTIAN
VINCENT;
Imaginary Wall in myStudio, 1947,
and Kathleen (Putting out a Cigarette), 1946,by RAPHAEL
SOYER;
and Self-Portrait with Brush and Paint Rag, 1996, by VOLKER
STELZMANN
are used by permission of ForumGallery, NewYork
Main Title Design by yU+co., GARSON
YU
Opticals by
Main and EndTitle Opticals by
Main Title Digital Compositingby
Negative Cutter
Color Timer
Dailies Advisor
DTSConsultant
Dolby SoundConsultant
PACIFIC TITLE/MIRAGE
HOWARDANDERSONCO.
DIGISCOPE
GARY BURRITT
PHIL HETOS
JOE VIOl_ANTE
DAN VICTOR
JAMES WRIGHT
Re-Recordedat
TODD-AOSTUDIOSVVEST
Lighting Equipmentby
PARAMOUNT
PRODUCTIONSUPPORT, INC.
LOU GIROLAMI
BRIAN EDWARDS
Grip Equipmentby
MOTIONPICTURE EQUIPMENTINC.
SPACECAM
Aerial CameraSystem provided by
SPACECAM
SYSTEMS,INC.
Dailies
by TECHNICOLOR
Prints by deluxe
FILMEDIN
[[[PANAVISION]]]
(6AB- 313)
"THE THOMASCROWNAFFAIR" R/6AB PISS

COMBINEDCONTINUITY & DIALOGUE
INO.J
MASTERENGUSHSUBTITLE/SPOTTINGUST
SCENE21S - (CONTINUED)
ET#1(contd):
RELEASe)ON
[logo] F U J I F I L M
PROFF-SS~ONAL
MOT]ONPICTUREPRODUCTS
NO. 36363
[MPAA emblemJ=
MOT]ONRCTUREASS~CIATION
OF AMERICA
THIS RCTUREMADEUNDER
THEJ URISOICTION
OF
{LA.T.S.E. emblem]
AFFILIATED ~
A.F.L-CJ.O.-C.LP.~
Visit the MGM

Websiteat:
VWWV.MGM.COM
1999 METRO-GOLDWYN-MAYER
PICTURES INC.
ALL RIGHTS RESERVED.
METRO-GOLDWYN-MAYER
PICTURES INC, is the author and creator of this
motion picture for the purpose of copyright and other laws in all countries
throughout the wodd.
This motion picture is protected under the laws of the United States
and other countries. Una~.dt~odzedduplication, disthbutJon or
exttibit~on mayresult in civil liability
and cdminal prosect~on.
ET#1 ROLLSOUT.
ET#2 FADESIN:
FROM
Metro Goldwyn Mayer
ARSGRAT~A
ART]S
R~OE
[lion logo] M~K
75
A t, EGACY
OF ~XCELLENCE
DISTRIBUTEDBY MGMDISTRIBUTIONCO.
ET#2 FADESOUT.
1872-12
(6AB- 314)
"rilE
THOMAS
CROWN
AFFAIR"
RJ6ABPI56
COMBINEDCONTINUITY &DIALOGUE
MASTERENGUSH
SUBTITLE/SPOI"T1NGUST
SCENE218 - MPAARATINGTAG CUTSIN:

THIS MOTIONPICTURE HAS BEEN RATED
R RESTRICTED
UNDER
17 REQUIRES
ACCOMPANYING
PARENT
ORADULT
GUARDIAN
BYTHE
CLASSIFICATION
ANDRATING
ADMINISTRATION
.
(MPAAlogo)
MOTION
PICTURE
ASSOCIATION
OFAMERICA
RATING TAG CUTS OUT.
1880-12
1860-12
END OF REEL 6AB

END OF FILM
END OF REEL 6AB

ENDOF FILM
(6AB- 315)

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METRO GOLDWYNMAYER

EXHIBITION REEL FOOTAGES:

TOTAL EXHIBITION FOOTAGE: 10,185 Feet + 3 Frames

136.13 = 1ST SCENEEND

236.14 = 3RD SCENEEND

THE LETTERS"1" ANDTHE LETTERS"R"

you allow that to happen?

SCENE11 - INT. PSYCHIATRISTS

counter to your own?

THE LETTERS"A" SWITCHPLACES, THEN

THE LETTERS"Y" SWITCHPLACES, THEN

walkfor a while. Ill

SCENE26 - EXT. FIFTH AVENUE

"THE THOMASCROWNAFFAIR" R/lAB PI10

SCENE30 - MS - LOOKINGDOWNPAST THE

SCENE31 - MS o LOOKINGUP PAST CROWN,

"THE THOMASCROWNAFFAIR" R/IAB P111

SCENE33 - MS - LOOKINGUP PAST CROWN,

"THE THOMASCROWNAFFAIR" R/lAB PI12

"THE THOMASCROWNAFFAIR" R/lAB PIt3

CROWNGLANCESBACK TO SEE PROCTOR

"THE THOMASCROWNAFFAIR" R/lAB P115

SCENE41 - FS - HIGH ANGLE- LOOKING

ARE TO APPEARIN THE UPPERONE-THIRDOF THE FRAME

TO AVOID DOUBLE-PRINTINGWITH OPENINGCREDITS.

SCENE42 - MCS- CROWN

CAMERAHOLDS ON CROWNIN CENTER

TRUCKDRIVER TO CAR DRIVER)

SCENE44 - EXT. MUSEUM

SCENE46 - EXT. BACKOF MUSEUM

SCENE49 - EXT. MUSEUM

THE DRIVER TURNSTO THE TRUCKAGAIN

TRUCKDRIVER TO JJ THE SECURITY

TRUCKDRIVER TO JJ THE SECURITY

JJ THE SECURITY GUARDTO TRUCK

JJ THE SECURITYGUARDTO TRUCK

JJ THE SECURITY GUARDTO TRUCK

"THE THOMASCROWNAFFAIR" R/lAB PI18

SCENE50 - EXT. CROWN

whats going on. But you cant makeany noise.

"THE THOMASCROWNAFFAIR~ R/lAB PI19

NEWYORK CITY COP

525o10 527.12 2.2

NEWYORK CITY COP TO CROWN)

NEWYORK CITY COP TO CROWN

"THE THOMASCROWNAFFAIR" R/lAB PI~0

SCENE53 - INT. CROWN

562.4 " 4.0

"THE THOMASCROWNAFFAIR" R/IAB P121

SCENE66 - INT. CROWNS

"THE THOMASCROWNAFFAIR" R/lAB PI22

SCENE60 - MCS- PASTJJS TORSO,TIPPED 57

SCENE61 - MCSo PAST THE SENIOR

JJ THE SECURITY GUARDTO

SCENE63 - INT. MUSEUM

THE CRATE TURNS L AROUNDA CORNER,

SCENE70 - MCS- PAST THE FORKLIFT

SCENE76 - INT. CROWN