Remington Steele S02E06
Remington Steele S02E06
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00:01Mr. Steele's opened up a whole new aspect of our work for me.
00:04Steeling?
00:05The pitkins?
00:06The pitkins.
00:07It's even possible that he's keeping her in the gallery.
00:10Well, then let's storm the joint.
00:14You get Molly, I'll get the pitkins.
00:15All right.
00:16You think of everything.
00:17They never did find the body.
00:19Two.
00:21Three.
00:23I don't want to dim your newfound passion for thieving.
00:27The gallery.
00:29We'll knock over the gallery again.
01:26© BF-WATCH TV 2021
01:57Do I hear $430,000?
02:02$430,000.
02:07$425,000 once.
02:10$425,000 twice.
02:14Sold for $425,000 to number 27.
02:27And now, our work by our local artist of the month, Joanne Pitkin.
02:34Miss Pitkin seems to me to be an artist of unique and unusual vision.
02:39While her work is still maturing, it is nonetheless eminently collectible.
02:44This work, entitled Anxiety 1, is one of the artist's most complex visions.
02:52Shall we open the bidding at, say, $1,000?
03:00I have $1,000. We'll make it $1,100.
03:05$1,100. Now $1,200.
03:10$1,200.
03:13$1,500.
03:22$1,400.
03:25$1,500.
03:33$1,600.
03:45$1,600 twice.
03:48$1,600 twice.
03:53Sold for $1,600 to...
04:00number nine.
04:17$1,200.
04:35They told you she paid for the painting and left.
04:37Right.
04:38And you're sure Miss Donovan wouldn't have done this?
04:40Right.
04:41Mr. Walker, the Conant Gallery's practice is its share of felonies.
04:45If this is her highway robbery, their arrogance is criminal.
04:48And they should do hard time for some of the artists they represent.
04:51But kidnapping doesn't seem in their line.
04:54Maybe. Maybe not.
04:59Go on.
05:00Maybe. Maybe not.
05:06Vinegar will take that right out as long as you get to it before it dries.
05:09You realize that's the longest sentence you've spoken since you walked through that door.
05:15Others talk. Rick Walker listens.
05:19You're not going to leave us in suspense on that one.
05:22Molly and I are investigative reporters.
05:25The L.A. Trib?
05:26You investigate in the gallery?
05:28About what?
05:30It's very hush-hush.
05:32You can tell us.
05:34Look, can't you just muscle Conant a bit? Shake him up?
05:36You may have noticed the sign on the door.
05:38Remington Steel, not Sam Spade.
05:41If anything happens to Molly, I'll never forgive myself.
05:45That's not the longest answer you gave us, Mr. Walker,
05:48but it's certainly the most persuasive.
05:51♪
06:08Molly, don't have any paid money for this woman's work?
06:11For an exposé.
06:13Exposing what? A shocking lack of talent?
06:16I didn't know you had such definite opinions about art.
06:20Laura, must I remind you that only a couple of years ago
06:23I was appropriating some of the finest works in Europe?
06:26I do my best to forget that.
06:30The artist herself.
06:33Nice wheels for a struggling artist, eh?
06:36Makes you wonder who she's been struggling with.
06:38Perhaps I should look into that one.
06:40You think you can penetrate this bastion of culture alone?
06:43Oh, of course. Laura, you've changed my life.
06:45I'm actually looking forward to going through the front door.
06:54Sorry, my fault.
07:00Mr. Steel, I think what we're dealing with here
07:04is a lover's misunderstanding.
07:07I suspect Miss Donovan may have gotten carried away.
07:12I suspect the same thing.
07:14With her purchase.
07:16The Pitkin? The Pitkin.
07:18Molly Donovan is only the third-string art critic for the Tribune,
07:22but she obviously has an eye for talent.
07:25Must have cost her a month's salary to buy Anxiety One.
07:28I certainly hope that's the only anxiety she bought.
07:31Mr. Steel, this conversation is becoming pointless.
07:36Who is this Remington Steel?
07:39No one, Mr. Esuda. A buyer.
07:42What is he buying?
07:44Nothing you'd be interested in, sir.
07:46You know what I'm interested in.
07:49Now, I have paid my deposit.
07:54You tell Conant this delay is bad for my blood pressure.
07:57And his.
07:58Give him a message from me, too.
08:00Mrs. Haddon, I didn't hear you come in.
08:03Remind him of the Venice Art Festival.
08:06The one that...
08:08Ended so tragically.
08:10I'd contracted to purchase a rather unique Rubens,
08:13but the young man entrusted to deliver it
08:16thought he could obtain a better price elsewhere.
08:19All those canals.
08:22They never did find the body.
08:25I'll, um, pass it on.
08:41Mrs. Pitkin, how did you find me here?
08:44It's part of my job.
08:46I'm Laura Holt, Art Insight Magazine.
08:49Oh, Art Insight.
08:52Honey, you people are heavy.
08:54Heavy.
08:56Even Cliff Conant doesn't understand your articles.
08:59We do believe that obscureness is a form of art,
09:02but it's not a form of art.
09:04It's not a form of art.
09:06It's a form of art.
09:08We do believe that obscureness is the avenue towards revelation,
09:11with a sharp left turn, of course, at referential analysis.
09:15Yeah.
09:17Art Insight is interested in me?
09:19A profile.
09:21Perhaps 5 or 6 pages.
09:23Possibility of a cover.
09:25You do seem to be prospering.
09:27Oh, that.
09:29Well, we all have our prisons.
09:32In your bio, it says you live in a garret in Hermosa Beach.
09:36Sounds better.
09:38Besides, Hermosa Beach is in here.
09:42Did you say cover?
09:45After all, we gave one to Picasso.
09:49Listen, why don't you come on inside, have a drink,
09:53stay for dinner, stay the month.
10:07Who are you working for, Miss Donovan?
10:10No one.
10:12Then why did you bid so relentlessly for Anxiety 1?
10:16I told you, I like pitkins.
10:19A woman with your eye, your critical judgment,
10:22you wouldn't hang a pitkin in your broom closet.
10:25That's what they used to say about the Impressionists.
10:28Perhaps some Tchaikovsky would help.
10:30The 1812 Overture.
10:32The Brass.
10:34The 1812 Overture. The Brass is so effective.
10:38Now then, let's try again.
11:05Why did you bid for the pitkin?
11:08Why shouldn't I bid for the pitkin, Mr. Conant?
11:29Clifford Conant changed my life.
11:32I bought things from him for years.
11:34The Rauschenberg in the living room,
11:36the Pollock in the study,
11:38the Cezanne in the powder room.
11:40Oh, a Cezanne in a powder room.
11:42How nice for your guests.
11:44Well, you have to look at something.
11:46Anyway, when pitkin and I went bad, I just...
11:50Your husband.
11:51My ex.
11:52Pitkin's Pizza Palazzos.
11:55863 franchises all across the country.
12:00Anyway, once pitkin and I went kaput,
12:03I liberated myself at my easel.
12:06I put myself on the line.
12:08I plumbed my depths.
12:11Well, you did an excellent job, Miss Pitkin.
12:14This is a fine example of plumbing.
12:18I'm free. Free of this prison.
12:22I'm free.
12:24I'm free.
12:26I'm free.
12:28I'm free.
12:29Free of this prison pitkin has trapped me in.
12:32I paint whatever I want, however I want,
12:35just as long as I paint on Cliff's canvases.
12:39I have to paint to certain sizes.
12:43I guess that sounds hackneyed, commercial.
12:47Mr. Conant provides you with these canvases?
12:51Off the record?
12:53Oh, of course.
12:54Cliff's got this thing about shapes,
12:57dimensions.
12:58He's very specific.
13:00Every man's got his kinks, right?
13:04At least Cliff's are putting me on the art map.
13:08What did I get after 18 years of pitkin's kinks?
13:12Carpools.
13:15She told me she's just completed
13:18a 46 by 54,
13:20a 24 by 30,
13:22and a 60 by 20
13:24that comes to a point at the top.
13:2660 by 20?
13:29Well, well, what do you know?
13:32That is a coincidence.
13:33Although I'll admit it is a rather odd size,
13:36it does seem to hold a great deal more significance
13:38for you than for me.
13:39As I remember, those are the dimensions of a panel
13:42that was stolen from the Bordeaux triptych.
13:44You didn't?
13:45Of course not.
13:46Thank God.
13:47I got there too late.
13:51How much is it worth?
13:53To the right buyer, millions.
13:55Now, who would want to pay millions
13:57for a stolen old master?
13:59I mean, what's the thrill of sitting alone
14:01in a locked room looking at a painting
14:03you can't show anyone else?
14:05I've known people who have achieved
14:07an almost sexual satisfaction
14:09because they possess something
14:10the rest of the world couldn't have,
14:12no matter how secret they had to keep their treasure.
14:15I've been wondering where these pitkins fit in.
14:18Only it's the other way around.
14:20The old masters fit in the pitkins.
14:23Quite possibly.
14:24Before they leave the country,
14:25customs is provided with documents
14:27from one of our most prestigious galleries
14:29authenticating...
14:30A pitkin.
14:31Ah.
14:32Be gentle with him, Inspector Krebs.
14:39They got something?
14:40A few questions first, Mr. Walker.
14:43Shoot.
14:44How do I get a bourbon stain
14:45out of my living room carpet?
14:47And I've got a hole in a tweed skirt
14:49that I would love to reweave.
14:52The houseplants are just dying on the vine.
14:58How'd you find out?
14:59They sent me to the Trib to check you out.
15:01Why? What gave me away?
15:03I think it was the trench coat.
15:05And when Mr. Steele learned
15:06that Miss Donovan is an art critic...
15:08You found out who I am.
15:10Helpful Harriet, the homemaker's friend.
15:13The housewife's Kierkegaard.
15:16Come in, Rick.
15:17Richie.
15:21Okay, so I wanted to be an investigative reporter.
15:23Molly knew that.
15:24So when she said she was on to something hot,
15:26I put up the money for her to bid on the pitkin.
15:29Why didn't she tell you what was so hot?
15:32I'll be honest, Miss Holt,
15:33would you tell a wimp like me?
15:35Walker, old man.
15:36Call me Richie, please.
15:37It makes me feel clean again.
15:39Was Miss Donovan interested
15:40in any special school of painting?
15:43Like what?
15:44Landscape painting, genre painting, um...
15:48Stolen paintings?
15:49She was.
15:50She was kind of interested in stolen paintings.
15:52She was always clipping out news items about them.
15:54Said she was going to write an article
15:56on missing old masters.
15:59But Joanne Pitkin is not an old master.
16:02We feel that her work is very close to several of them.
16:07Look, just how deeply is Molly into this?
16:10I mean, could they have killed her?
16:13No, I doubt that, Richie.
16:14Mr. Kony wouldn't do anything irreversible
16:16until he was absolutely sure he knew what she was up to.
16:18It's even possible that he's keeping her in the gallery.
16:21Well, then let's storm the joint.
16:23Well, uh, given the delicate nature of the mission,
16:25I think it best if only the more experienced of us should go.
16:29You?
16:30Who else?
16:31Would you excuse us just for a moment, please?
16:34Mr. Steele, please.
16:36After you.
16:41You're awfully anxious to get into that gallery.
16:44A woman's life is at stake.
16:45Is that the only thing you're interested in rescuing?
16:48Why, whatever do you mean?
16:49The one that got away?
16:51That panel from the Bordeaux triptych?
16:53Laura, I'm shocked, hurt, and indignant
16:56that you should entertain such a thought.
16:58And you won't mind if I came along,
16:59acted as your backup, your lookout?
17:01Conscience.
17:02Why, Mr. Steele, whatever do you mean?
17:16Come back in 20 minutes
17:17and try to look inconspicuous, okay?
17:45Okay.
18:15Okay.
18:46Try the door.
19:05I'm relieved to see you haven't lost your touch.
19:08Well, let's get to it.
19:10Ah, ah, ah, ah, ah.
19:11They could be on candid camera.
19:13And although we're here on a mission of mercy,
19:15I doubt if the authorities would appreciate our methods.
19:18Mr. Steele, you think of everything.
19:21An ounce of prevention, Miss Holt.
19:36Ryan.
19:43Ryan.
20:13Didn't Walker say Molly's number was nine?
20:17Well, at least we know she was here.
20:19Perhaps they simply moved her to another room.
20:44Come on.
20:56Ah, ah, ah.
21:02Paula, will you slow down?
21:03We're not trying to do a 50-yard dash, you know.
21:07She's not here. Let's go.
21:08But don't you see?
21:09If Conant had those two working the night shift,
21:11he must obviously be sitting on something.
21:13Laura, we have been through every room in the building.
21:16Pitkins. We need pitkins.
21:19Whatever happened to my conscience?
21:20Well, simply borrow a few pitkins and trade them for Molly.
21:24They've got to be here somewhere.
21:25Where would you hide a five-foot painting
21:27that comes to a point at the top?
21:29Laura, I'll admit I've been trying to lead you astray,
21:31but this is not quite the direction I had in mind.
21:34The bathroom.
21:35I know you're excited, but can you wait till we get home?
21:37He's got to look at something.
21:41Oh, my God.
21:48Do you suppose he's making a critical comment, do you?
21:51Oh, let's go.
21:53One, two, three.
21:58You and the night and the music
22:02Fill me with flaming desire
22:06Setting my being completely
22:09On fire
22:20Rembrandt.
22:22Stolen from a Belgian museum.
22:25Why stop at three?
22:27He must have a whole museum hidden in the gallery.
22:30You call this a fair night's work?
22:32Fair, I call it fantastic.
22:34Fantastic.
22:37You and the night and the music
22:40You seem awfully up, Miss Holt.
22:42Why shouldn't I be?
22:43Mr. Steele's opened up a whole new aspect of our work for me.
22:47Stealing?
22:48I prefer to think of it as purloining.
22:51Even though it's in a good cause,
22:52should you be quite so happy about it?
22:54I mean, you are a private detective.
22:55Believe me, after a while,
22:57it gets just as predictable as any other job.
22:59Find a body, find some clues, find the killer.
23:04Oh, yes.
23:05By the time afternoon rolls around,
23:07we're watching the clock like everyone else.
23:16Monet.
23:18Taken from the private collection of a Parisian banker.
23:21I think we're going to need a top-notch forger for this, Laura.
23:24Forger?
23:26Don't think I'm going to hand the originals back to Conan, do you?
23:29I'll wager there's a hefty finder's fee
23:31for each one of these little beauties.
23:33Mr. Steele is very big on finder's fees.
23:36But I thought we were going to trade them for Molly.
23:38We are.
23:39Only we're going to substitute copies for the originals.
23:43Couldn't that be dangerous,
23:44palming off fakes on a man like Conan?
23:46Not that I'm a coward.
23:48We understand, Richie.
23:50I think I'll take a walk.
23:52Clear my head.
23:59I'm beginning to understand why you did it.
24:02Did what?
24:03What you did.
24:06Oh, that.
24:09Laura, please.
24:11This is painstaking enough without that sort of distraction.
24:14Oh, my heart's going a mile a minute.
24:16I can't seem to stop.
24:18Oh, the rush is incredible.
24:24The Bordeaux panel.
24:26Oh.
24:28I finally feel as if I'm holding a woman
24:30that I've been after all my life.
24:33Conan's giving a party tomorrow
24:35in honor of Joanne Pitkin.
24:37She invited me.
24:40I think we stole his appetizers.
24:43Sounds like a perfect setting for a swap meeting.
24:46How very bold you are, Mr. Steele.
24:50Now, how would you like to hold another woman
24:52you've been waiting for?
24:56Hmm.
24:58They say crime doesn't pay.
25:00It does tonight.
25:05I'm really not a coward.
25:06I'm just overly cautious.
25:18Did Miss Holt say why she wanted to see me?
25:21No, Mr. Grumman, she didn't.
25:22She been getting any calls about me?
25:25Not that I know of.
25:28Who exactly are you?
25:30She didn't tell you?
25:32No, she didn't.
25:35Hello, Mildred Lewis.
25:37It's so nice to see you again.
25:39You mean that, Miss Holt?
25:40I certainly do.
25:41Come in, come in.
25:44I don't know what's up, Miss Holt,
25:46but I'm straight.
25:48I go to work from nine to six every day
25:51at a greeting card company.
25:53I know, Lewis.
25:54I get a little thrill of pride
25:55every time I read your probation reports.
25:58But cutting to the point,
25:59is there a way I could bend you just a little?
26:04Miss Holt, I'm not a womanizer.
26:08I'm a man.
26:09Bend you just a little.
26:11Miss Holt, you...
26:13I'm not even going to try to explain.
26:16Three pictures are worth a thousand words.
26:29One.
26:32Two.
26:34And three.
26:37Miss Holt,
26:38do you have any idea what this means to me?
26:41Do you have any idea what I'm feeling?
26:44Just to look at these,
26:46to see those colors, those brush strokes,
26:49those unmistakable signs of genius.
26:52Believe me,
26:53if it weren't a matter of life and death,
26:55I'd never ask you this.
26:58Do you think you can reproduce them?
27:00You want me to reproduce these?
27:02Yes.
27:03I don't know why.
27:04These are three of the finest forgeries I've ever seen.
27:10Forgeries?
27:18I paint what I feel,
27:20and I feel what I paint.
27:35I don't see my pitkin on display.
27:39You don't think I'd display your pitkin?
27:41Or mine?
27:43There are pitkins for the peasants
27:45and pitkins for the connoisseurs.
27:47After tomorrow's auction,
27:48your pitkins will all be safely in your hands.
27:54That's so reassuring, Clifford.
27:58It would distress me no end
28:00to see a repeat of what happened.
28:02That poor young man died so badly.
28:06I could barely finish dinner.
28:09Your concern for my well-being touches me, Monica.
28:12Now, if you'll excuse me, I really should mink.
28:24I don't recall extending an invitation to you, Mr. Steele,
28:27but then you have a bothersome face.
28:29How else would I discover the finer things in life?
28:32May I present Richard Walker,
28:34a very great friend of Molly Donovan's.
28:36I'm afraid there's nothing here for you.
28:38Then it's fortunate I brought my own exhibit.
29:00I had no idea you were such a resourceful...
29:04collector, Mr. Steele.
29:06These are worth a king's ransom.
29:08We'll settle for Molly Donovan.
29:10Frankly, that's a trade I'd be more than willing to make.
29:13If I knew where Miss Donovan was...
29:15You're lying. You know you're lying.
29:17Easy, Richard. Easy, easy, easy.
29:19You're far too refined a company.
29:21I'll find a security guard to help you on your way.
29:26He's cool. I'll give him that.
29:28I'd say we build a little fire under him, eh?
29:32I wonder how Mr. Conin would react if...
29:35having stolen his old masters...
29:39we also stole his buyers.
29:44You know something? The more I'm with you and Miss Holt,
29:47the more I hate being a coward.
29:49We have to do something to pressure him into releasing Molly.
29:52Come along, Richie. Let's work the room.
29:59Mr. Schneiderman.
30:01Yes?
30:03I thought you looked familiar when I bumped into you the other day.
30:06Felix Schneiderman.
30:08He buys the European collectors.
30:10Also writes books on the Renaissance.
30:13Renaissance paintings, Renaissance sculptures. Thank you.
30:17Renaissance. Poisons.
30:20Quite a tasty volume.
30:22And this gentleman is Koji Yasuda.
30:25He works the Far East.
30:28No one's ever been quite sure how he gets what he's after.
30:31But I never come back empty-handed.
30:35And last but not least, Monica Haddon.
30:40She represents certain English eccentric collectors.
30:44She once told someone that murder is the only truly erotic experience.
30:49Have we met?
30:51Not officially, but we were in Venice at the same time.
30:54The young man with the rubens was on his way to see me
30:57when he lost his footing and disappeared in a canal.
31:01We were just discussing that tragedy.
31:04Yes, I'm sure it still haunts all of us today, even.
31:07What brings you to this exhibition, Mr...
31:11I should imagine the same thing that brought all of you here.
31:15An insatiable craving for...
31:18pitkins.
31:20We have all the pitkins we need.
31:24These are from Mr. Conant's private collection.
31:36They do leave one rather speechless, don't they?
31:40We already paid Mr. Conant a substantial deposit for these.
31:45Our employers don't relish the idea
31:48of paying for the same merchandise twice.
31:53Mrs. Holt, this is Laura Holt of Art Insight magazine.
31:56Oh, loved your article on the Ashcan School.
31:59Oh, well, I may be researching there any minute, if you'll excuse me.
32:05I've always prided myself on not being a greedy man,
32:08so why don't you simply pay me the rest of what you were going to pay Conant?
32:17Then it's settled. Tonight, my apartment, 8 o'clock.
32:21Miss Holt, this turns out better than Venice.
32:27For all concerned.
32:32Tell me you didn't offer them the paintings.
32:34He was brilliant, Miss Holt. Had a meeting out of the palm of his hand.
32:37You offered them the paintings.
32:39They practically devoured them.
32:41That's not all they're going to devour.
32:43My foray into burgling?
32:45It netted us three forgeries.
32:48Forgeries? Forgeries?
32:50Forgeries.
33:04Conant has Molly.
33:06He has the original Old Masters.
33:08And he has us selling fakes to three people who'd kill us
33:10just to keep their reputations intact.
33:12I hope to pass off fakes to experts like Schneiderman.
33:14Oh, no doubt he was going to show them the originals,
33:16then ship the copies.
33:18In his own locked room? That's a wrinkle on a wrinkle.
33:21I suppose when you deal long enough with the kinky rich,
33:23you decide it's stylish to ape them.
33:25If we're going to save Molly's skin, not to mention our own,
33:28we have got to find out where these originals are.
33:31Yes. So where do we look?
33:34The gallery.
33:36We'll knock over the gallery again.
33:38What's taking them so long?
33:40Oh, they're at their best at this point in the case.
33:43They're cool, logical,
33:45working out their next move in a professional manner.
33:47Have you gone berserk?
33:50They're getting close.
33:52Well, you haven't come up with anything that makes sense.
33:55Very close, I can tell.
33:58I don't want to dim your newfound passion for thieving,
34:01but Conan is much too clever to keep the originals in his gallery
34:04after our previous visit.
34:06I wish I were back at the Trib,
34:09sitting in my ugly windowless little cubbyhole.
34:12Then Molly'd be back at her desk.
34:14It wasn't such a bad life.
34:16Dull, pointless, no future,
34:19but it was safe.
34:21I'd give anything if we were eating stale sandwiches
34:24out of the vending machine
34:26or putting anonymous complaints in the suggestion box,
34:29but no, I wanted adventure.
34:31We're all entitled to new horizons.
34:34You think so?
34:36Absolutely.
34:38How do you think I wound up here?
34:40I know it's tough to believe,
34:42but I wasn't always a hard-bitten dick
34:44ready to lay my life on the line
34:46for a hundred-a-day-plus expenses.
34:48Oh, no.
34:50I seized the moment.
34:52I grabbed my destiny, and I ran with it.
34:55That's what you ought to do, Richie.
34:57Yeah, well, I'll grab my destiny right after we find Molly.
35:00That won't be long now.
35:02You hear that, silence?
35:04That means the boss has got it.
35:07Usually at this juncture,
35:09you remember an old movie
35:11that puts everything into perspective.
35:13Sorry, can't seem to come up with one
35:15in this particular circumstance.
35:17Conant has three pictures worth millions.
35:19Where would he keep them, safe yet accessible,
35:22where no one would think of looking?
35:24His bank vault.
35:26His wine cellar.
35:27His gym locker.
35:29Charade.
35:30The game in the movie.
35:31Cary Grant. Audrey Hepburn.
35:33Universal 1964.
35:35Everybody's looking for a fortune in stolen money.
35:37Only the thief has converted it into priceless stamps.
35:40And put them on a letter he'd written to Audrey Hepburn.
35:42That's where those paintings are.
35:44They've been under my nose the whole time.
35:46Apparently, your nose has been in far more interesting places than mine has.
35:49Now, where's the safest place to lock something up?
35:52A prison.
35:54A prison?
36:03A prison.
36:10Let's try a window.
36:11Let's try the front door.
36:13You're still from Art Insight.
36:15I'm your editor, and we're simply here to borrow the pitkins for the profile, okay?
36:24Hello, I'm sorry to disturb the creative process,
36:27but Miss Holton...
36:29Miss Holt?
36:30Laura Holt?
36:31Lover, lover, lover.
36:33Yes, she does evoke strong emotion, doesn't she?
36:37Is, uh, is she with you?
36:39Oh, around and about.
36:41I'm Adam Canfield, Miss Holt's editor from Art Insight.
36:46I'm here to discuss the upcoming profile on you.
36:50Well, in that case, mi casa es su casa.
36:54Thank you very much.
36:59Speaking of profiles,
37:02Laura didn't tell me anything about you.
37:06Well, uh, perhaps she was keeping me as a surprise.
37:09Miss Holt is so full of surprises these days.
37:13Did you feel that?
37:15What?
37:16Slight tremor.
37:17Must have been an earthquake.
37:20Come back to my studio.
37:22I, uh, I want to give you a private exhibition.
37:26You know, I always get so much more out of hearing what an artist sees in her work.
37:32I mean, anyone can look at a painting.
37:36Heavy.
37:38Like an aftershock.
37:39There is someone in my studio.
37:41There is also someone at your front door.
37:42Why don't you catch the door and I'll check the studio.
37:44Right along there.
37:51We've come for the Pitkins, Miss Pitkin.
37:55I've got two of them. Check over there, quick.
37:59Miss Holt!
38:05I found it!
38:07Mr. Canfield! Miss Holt!
38:10Where are you going with my paintings?
38:15I've made them big time! I've been stolen!
38:28Wait a minute!
38:59Saddens me to say this, Laura, but you have gone berserk.
39:07I don't know what came over me.
39:09I'm sure it's just a temporary aberration.
39:12Like eating jelly beans or buying Chinese cookbooks.
39:17I'm positive it'll pass.
39:20Certainly is a lot more satisfying than jelly beans.
39:24Is this the way it used to feel?
39:26Skin tingling, heart pounding, blood coursing, head spilling.
39:30Laura, please, you're making me ill.
39:32But it's not an uncommon feeling when one first starts,
39:34but then you get used to it.
39:36Oh, how sad.
39:38It's not all thrills and tingles, Laura, you know.
39:40There's also the very real possibility of getting caught.
39:42Well, at least there's one positive aspect to all this.
39:46Now I can truly relate to your former profession.
39:53What are you doing?
39:55How do they know we have the real paintings?
39:57We might as well let them have them.
40:01Mr. Steele!
40:03You're one hell of a partner in crime!
40:17You got them?
40:18Not for long.
40:20You in with the old?
40:23Out with the new.
40:33Would I be adult if I asked what's going on?
40:35Stay cool, Richie.
40:37We're about to enact our version of one of Mr. Steele's favorite films,
40:40The Sting.
40:46Who is it?
40:48I believe you have something which belongs to us, Miss Holt.
40:52And we intend to collect them.
40:54The Pitkins?
40:56The Pitkins.
40:58Let him in.
41:02Well, at least we had them for one brief moment.
41:22Authentic.
41:24Was there ever any doubt?
41:26Ah, we'll just get them back in their Pitkins
41:28and bring them to the auction tomorrow.
41:30Auction?
41:32It's quite all right. I struck a deal with Conant.
41:35As I said, I'm not a greedy man.
41:38I'm not a greedy man.
41:40I'm not a greedy man.
41:42I'm not a greedy man.
41:44I'm not a greedy man.
41:46I'm not a greedy man.
41:48As I said, I'm not a greedy man.
41:51Besides, you want your Pitkins authenticated, don't you?
41:54Of course.
41:56To play out the charade.
41:58Aptly put, Mrs. Haddon.
42:09We brought you to the gallery for a reason, my dear.
42:13You're going to make a phone call.
42:16The most important call of your life.
42:19Come on.
42:45As soon as they've bought their Pitkins,
42:47we'll get Conant with the sad news
42:49that we sold them all the things.
42:51Either he coughs up Molly
42:53or we inform the treacherous trio of his deception.
42:55I think we're finally on top of this one.
42:57That's all we have to do now is collect our finder's fee.
43:00Shall we get comfortable and wait for the fireworks?
43:05I think they've started sooner than we expected.
43:12What are you doing here?
43:14I've settled everything. I've freed Molly.
43:16Freed her? How, Ritchie?
43:18I gave Conant the Pitkins.
43:20My bedroom Pitkins?
43:23The genuine old masters?
43:26Harriet, that was not helpful.
43:35Everything is under control.
43:37Molly called last night,
43:39and Conant got on an offer to let her go.
43:41So I just took Miss Krebs' advice and seized the moment.
43:44We've got to speak to Miss Krebs about her little pep talks.
43:48Listen, I've learned a lot being with you two.
43:50I made him show me Molly on the security monitors
43:52before I handed over the paintings.
43:54She's here? In the building?
43:56Of course. What do you take me for?
43:58I don't know.
44:00A room full of paintings and statues.
44:02You didn't happen to notice a life-size sculpture without a head, did you?
44:05Yes, I thought that was very unique.
44:07I really do think we should say our farewells first.
44:10Yes, you're right.
44:13If you'll excuse us, sir, we'll take our leave.
44:16Aren't you going to stay for the auction?
44:19You contributed so much to it.
44:21Well, we really have nothing left to offer.
44:24No, Miss Holt, you don't.
44:26It's been a deceptively delightful experience.
44:29Come along.
44:35You get Molly, I'll get the Pitkins.
44:37All right.
44:43Come on.
44:52It's all right. We're with Richie.
44:55All right now.
44:59How do you know they're here?
45:01I don't.
45:03But one has to start somewhere.
45:06Actually, this is a very ingenious hiding place.
45:08I mean, who'd think of looking here a second time, eh?
45:17You all right? Let's go.
45:21The Pitkins!
45:27Laura!
45:29I got them!
45:31Molly!
45:33I got them!
45:35Rick!
45:36Richie.
45:38From now on, it's just plain Richie.
45:41Your persistence is becoming enervating, Mr. Steele.
45:52No, Richard!
46:04Ah!
46:14The Pitkins, all right?
46:17Unscathed.
46:19I can only tell which have the real paintings and which have the fakes.
46:22Let's take hold of them.
46:24No!
46:25I have three very determined people
46:27who are waiting for me to deliver the Pitkins.
46:30Laura, I lost my finders fee in Acapulco.
46:32I don't want to repeat the same folly here.
46:34Don't you understand? They'll kill me if I don't give them something.
46:37Then pick a set.
46:39They all look alike.
46:41You're the art expert.
46:43We each have a 50% chance of getting what we want.
46:49Oh!
47:03Well?
47:05A masterpiece.
47:07Every one of them.
47:09And we have...
47:11The kind of forgeries that only a true artist could paint.
47:15That means the treacherous trio have the real ones.
47:17And some customs inspector has them now.
47:20Thanks to our tip.
47:22Good work, Chief.
47:24You really put one over on that Conant.
47:26Yes, Mildred. The joke's certainly on him.
47:29I'll bet we get a commendation for this.
47:31That's not exactly the reward I had in mind, Mildred.
47:34Oh, Mr. Steele.
47:36Now, what's a six-figure finders fee
47:40compared with the knowledge
47:42that you've helped put four dangerous criminals behind bars?
47:46If you care so little for money, Miss Holt,
47:49why, may I ask,
47:51do you filter my wallet?
48:01© BF-WATCH TV 2021