1
00:00:17,017 --> 00:00:21,605
(woman) ♪ GET YOUR BACK
AGAINST THE WALL ♪
2
00:00:21,647 --> 00:00:24,483
(laughs)
3
00:00:24,525 --> 00:00:27,110
(laughs)
WE ARE SO BAD.
4
00:00:27,152 --> 00:00:29,112
MM.
(laughs)
5
00:00:31,824 --> 00:00:34,952
WHAT IF SOMEBODY SEES US?
ARE YOU SURE ABOUT THIS?
6
00:00:34,994 --> 00:00:37,204
I GOT IT ALL UNDER CONTROL.
RELAX, BABY.
7
00:00:37,245 --> 00:00:40,332
♪ OH ♪
8
00:00:40,374 --> 00:00:45,086
♪ BABY, ONE MORE CHANCE
TO GET YOURSELF ♪
9
00:00:45,128 --> 00:00:48,131
♪ OH ♪
10
00:00:48,173 --> 00:00:54,346
TO TELL ME WHY YOU CARE ♪
♪ BABY, ONE MORE CHANCE
11
00:00:54,388 --> 00:00:56,306
♪ YOU'RE TROUBLE ♪
12
00:00:56,348 --> 00:00:58,392
♪ OH, OH ♪
13
00:00:58,433 --> 00:01:00,561
(grunts)
14
00:01:00,602 --> 00:01:03,188
(whispers) COME ON.
♪ JUST TROUBLE ♪
15
00:01:03,230 --> 00:01:05,232
YEAH.
16
00:01:05,273 --> 00:01:07,651
♪ OH, OH ♪
17
00:01:09,611 --> 00:01:11,655
MM.
18
00:01:13,198 --> 00:01:19,038
YOU'RE BEATING TO MY DRUM ♪
♪ SO NOW
19
00:01:19,079 --> 00:01:22,082
AAH! AAH!
20
00:01:22,123 --> 00:01:23,792
(gasps)
21
00:01:32,718 --> 00:01:36,095
A JUNIOR V.P. WITH THE COMPANY.
THE NAME'S HARRY LASHLEY,
WHAT DO WE HAVE HERE?
22
00:01:36,137 --> 00:01:38,891
OF THE BOSS, A.P. CAID.
HE'S THE SON-IN-LAW
23
00:01:38,933 --> 00:01:41,268
THE RECEPTIONIST, MISS DUANE,
OVER THERE, FORGET HER PHONE.
24
00:01:41,309 --> 00:01:44,103
CAME BACK TO GET IT,
FOUND HIM LIKE THIS.
25
00:01:44,145 --> 00:01:46,398
LUCKILY I WAS WORKING LATE.
SHE CALLED SECURITY.
26
00:01:46,440 --> 00:01:49,026
AS SOON AS I GOT HERE.
I CALLED 9-1-1
27
00:01:49,068 --> 00:01:51,946
MR. CAID'S OFFICE TO CHECK,
I THEN OPENED UP
28
00:01:51,987 --> 00:01:55,074
I HAVE AN ALL-ACCESS PASS.
BUT NOTHING WAS AMISS.
29
00:01:55,115 --> 00:01:56,658
police radio chatter)
WELL, COME ON.
(indistinct
30
00:01:56,700 --> 00:01:59,078
ONLY ONE THING WAS MISSING,
31
00:01:59,119 --> 00:02:02,122
BUT IT'S THE MOST VALUABLE
PAINTING HE OWNS.
32
00:02:02,163 --> 00:02:05,166
A.P. PICKED IT UP AT AN AUCTION
A COUPLE OF MONTHS AGO.
33
00:02:05,208 --> 00:02:08,169
OVER $50 MILLION FOR IT.
NOW YOU SAID THAT THESE DOORS
PAID A LITTLE
34
00:02:08,211 --> 00:02:11,924
LOCKED UP WHEN A.P.'s NOT HERE.
UH, THE OFFICE IS ALWAYS
BEFORE YOU GOT HERE?
WERE, UH, CLOSED
35
00:02:11,966 --> 00:02:14,468
IT'S A STRICT RULE THAT A.P. HAS
WHEN HE'S GONE.
36
00:02:14,509 --> 00:02:19,139
NO IDEA.
AND MR. LASHLEY--WHAT WOULD HE
HAVE BEEN DOING HERE?
37
00:02:19,180 --> 00:02:22,267
HIS OFFICE IS TWO FLOORS DOWN.
HE HAD NO REASON TO BE HERE.
MAYBE HE WAS INVOLVED.
38
00:02:22,309 --> 00:02:24,269
WE'LL FIND THE MURDER WEAPON.
IF WE'RE LUCKY,
39
00:02:24,311 --> 00:02:26,939
A WELL-PLANNED ROBBERY.
THIS WAS OBVIOUSLY
WHY IS THAT OBVIOUS?
40
00:02:26,981 --> 00:02:28,315
WELL, NOBODY FINDS THEMSELVES
41
00:02:28,356 --> 00:02:31,068
FULL OF OLD MASTERS
IN A LOCKED ROOM
42
00:02:31,110 --> 00:02:33,654
IN THE MIDDLE OF THE NIGHT
BY ACCIDENT, DO THEY?
43
00:02:33,695 --> 00:02:35,322
BUT THEY WEREN'T EXPECTING
SO WELL-PLANNED,
44
00:02:35,363 --> 00:02:37,074
TO MEET ANY OPPOSITION.
45
00:02:37,116 --> 00:02:40,535
WOULD HAVE BEEN SHOT OR TASERED
OTHERWISE, MR. LASHLEY HERE
46
00:02:40,577 --> 00:02:43,246
OR TIED UP AND GAGGED.
47
00:02:43,288 --> 00:02:46,083
BUT WHEN THEY WERE
SURPRISED BY HIM,
48
00:02:46,125 --> 00:02:48,085
THEY SIMPLY HIT HIM
ON THE HEAD,
49
00:02:48,127 --> 00:02:50,087
AN IMPROVISED WEAPON, YEAH?
(camera shutter snaps)
WHICH SUGGESTS
50
00:02:50,129 --> 00:02:51,505
I'M LISTENING.
51
00:02:51,546 --> 00:02:54,842
YES, SOMETHING LIKE...
52
00:03:00,430 --> 00:03:02,557
I PREDICT FORENSICS
53
00:03:02,599 --> 00:03:06,854
OF HARRY LASHLEY ON THIS BUST.
WILL FIND TRACES
54
00:03:06,895 --> 00:03:09,106
NO OFFENSE, BUT I USED
TO BE POLICE MYSELF,
55
00:03:09,148 --> 00:03:12,693
AND THAT'S NOT POLICE WORK.
THAT'S GUESSING.
56
00:03:14,486 --> 00:03:16,947
CARL, BAG THIS FOR ME.
57
00:03:18,365 --> 00:03:20,868
FRANK.
(camera shutter snaps)
58
00:03:20,909 --> 00:03:22,911
IS THERE A GOOD DINER
AROUND HERE?
59
00:03:22,953 --> 00:03:24,621
UH, YEAH.
60
00:03:24,663 --> 00:03:28,167
GARRITY'S, A COUPLE OF BLOCKS
OVER ON... MADISON.
61
00:03:28,207 --> 00:03:29,751
DO THEY DO GOOD EGGS?
I GUESS.
62
00:03:29,793 --> 00:03:33,172
OF A GOOD DINER--EGGS.
THAT'S THE TEST
63
00:03:33,212 --> 00:03:36,133
YOU MUST HAVE HAD A CONTENTIOUS
RELATIONSHIP WITH YOUR FATHER.
64
00:03:36,175 --> 00:03:38,468
TELL ME--
EXCUSE ME? UH, NO.
65
00:03:38,510 --> 00:03:41,262
IN HER FACE AND THE SOBBING,
I CAN'T TELL WITH THE HAIR
66
00:03:41,304 --> 00:03:45,184
BUT, UH, I IMAGINE MISS DUANE IS
QUITE ATTRACTIVE, ISN'T SHE?
67
00:03:45,225 --> 00:03:47,561
I MEAN, RECEPTIONISTS ARE OFTEN
HIRED FOR THEIR LOOKS.
68
00:03:47,602 --> 00:03:50,022
WHAT ARE YOU TALKING ABOUT?
69
00:03:50,064 --> 00:03:52,691
THIS WAY.
WHERE ARE YOU GOING
WITH THIS?
70
00:03:52,733 --> 00:03:55,152
LOOK AT THE SEAMS.
71
00:03:55,194 --> 00:03:57,571
THESE SHOULDER SEAMS HERE--
72
00:03:57,612 --> 00:03:59,198
PULLED APART--
73
00:03:59,239 --> 00:04:06,121
AND THE WAY HE'S LYING
SO STRAIGHT LIKE THIS,
74
00:04:06,163 --> 00:04:10,042
YES, BUT DRAGGED HIM
FROM WHERE? AND WHY?
75
00:04:10,084 --> 00:04:12,669
CARE TO TELL US, FRANK?
76
00:04:12,711 --> 00:04:15,047
WHAT YOU'RE TALKING ABOUT.
I DON'T KNOW
77
00:04:15,089 --> 00:04:17,674
THEN LET ME EXPLAIN.
OH. ALL RIGHT,
(claps hands)
78
00:04:17,716 --> 00:04:21,344
YOU AND MISS DUANE CAME UP HERE
TO HAVE SEX IN THE BOSS' OFFICE.
79
00:04:21,386 --> 00:04:24,139
I DO SUCH A STUPID THING?
THAT'S ABSURD. WHY WOULD
80
00:04:24,181 --> 00:04:27,101
AND THUS, VERY SEXY, OF COURSE,
WELL, BECAUSE IT'S FORBIDDEN,
81
00:04:27,142 --> 00:04:28,977
FATHER ISSUES. AND WHO DOESN'T?
ESPECIALLY IF YOU HAVE
82
00:04:29,019 --> 00:04:30,604
IT'S A FURTIVE
83
00:04:30,645 --> 00:04:33,398
TO THE PATERNAL AUTHORITY.
BUT POWERFUL CHALLENGE
84
00:04:33,440 --> 00:04:35,442
SO YOU OPEN UP A.P.'s OFFICE
85
00:04:35,483 --> 00:04:38,779
AND THEN, "CRAP. THERE'S A DEAD
BODY. WHAT ARE WE GONNA DO?"
86
00:04:38,820 --> 00:04:41,198
BUT HOW DO YOU EXPLAIN
YOU GOTTA REPORT IT,
87
00:04:41,240 --> 00:04:44,201
YOUR PRESENCE IN HIS OFFICE?
A QUICK BUT DIRTY SOLUTION--
88
00:04:44,243 --> 00:04:47,829
AND LOCK THE DOORS BACK UP
YOU DRAG THE BODY OUT
89
00:04:47,871 --> 00:04:50,373
BEFORE CALLING THE POLICE.
WHO IS THIS GUY?
90
00:04:50,415 --> 00:04:52,834
HE'S A PAIN IN THE ASS,
BUT HE'S MAKING SENSE.
91
00:04:52,876 --> 00:04:56,213
TO CHANGE YOUR STATEMENT?
YOU SURE YOU DON'T WANT
NO.
92
00:04:56,255 --> 00:04:58,882
IT'D BE SILLY TO DENY IT.
OH, PLEASE, FRANK,
93
00:04:58,924 --> 00:05:01,969
WITH THE PERSUASIVE AGENT CHO,
FIVE MINUTES IN A ROOM
94
00:05:02,010 --> 00:05:04,554
AND MISS DUANE WILL TELL ALL.
BACK OFF, MAN.
95
00:05:04,596 --> 00:05:06,556
(chuckles) I WANT TO.
BELIEVE ME.
96
00:05:06,598 --> 00:05:09,143
I HAVE ZERO INTEREST
IN YOUR SEX LIFE.
97
00:05:09,184 --> 00:05:11,145
THAT OCCURS TO ME--
BUT ONE THING
98
00:05:11,186 --> 00:05:13,647
SECURITY CAMERAS IN IT, YEAH?
A ROOM LIKE THIS WOULD HAVE
99
00:05:13,688 --> 00:05:15,315
YES.
100
00:05:15,356 --> 00:05:18,318
KNOWINGLY RECORD YOURSELF
BUT SURELY, YOU WOULDN'T
101
00:05:18,359 --> 00:05:20,361
ON THE BOSS' CARPET.
MAKING LOVE
102
00:05:20,403 --> 00:05:21,488
YOU'D HAVE TO KNOW
103
00:05:21,529 --> 00:05:23,073
THAT THE CAMERAS IN THE ROOM
WERE OFF,
104
00:05:23,115 --> 00:05:25,533
PROBABLY BECAUSE YOU TURNED THEM
OFF, BEING THE HEAD OF SECURITY.
105
00:05:25,575 --> 00:05:28,162
THEY ARE OFF, AREN'T THEY,
FRANK?
106
00:05:28,203 --> 00:05:32,124
SO THE QUESTION NOW IS, FRANK,
HOW LONG HAVE THEY BEEN OFF,
107
00:05:32,166 --> 00:05:33,333
AND WHO ELSE MIGHT HAVE KNOWN
108
00:05:33,374 --> 00:05:35,335
BE OFF LAST NIGHT?
THEY WERE GONNA
109
00:05:35,376 --> 00:05:37,545
YOU GUYS CAN TAKE IT FROM HERE.
I AM STARVING.
110
00:05:37,587 --> 00:05:42,592
GARRITY'S, RIGHT? THANKS.
GOTTA GET ME SOME EGGS.
TO TELL US THE TRUTH?
YOU READY
111
00:05:46,180 --> 00:05:52,393
♪♪
112
00:05:55,689 --> 00:05:59,358
IT'S KNOWN AS "THE MORO,"
FROM 14th CENTURY ITALY.
113
00:05:59,400 --> 00:06:01,778
IT'S A PORTRAIT OF SOMEBODY
NAMED CARLOTTA MORO.
114
00:06:01,820 --> 00:06:03,404
IT'S THE ONLY KNOWN WORKS
115
00:06:03,446 --> 00:06:05,532
AS THE "SIENNESE MASTER."
OF AN ARTIST KNOWN
116
00:06:05,573 --> 00:06:08,618
IT'S BEEN OWNED BY TWO POPES,
THE KING OF FRANCE
117
00:06:08,660 --> 00:06:10,620
AND JOHN JACOB ASTOR,
AMONG OTHERS.
118
00:06:10,662 --> 00:06:12,622
FOR $50 MILLION 3 MONTHS AGO.
BUT A.P. CAID BOUGHT IT
119
00:06:12,664 --> 00:06:15,416
WHAT DO WE KNOW ABOUT CAID?
(whistles)
120
00:06:15,458 --> 00:06:17,585
APART FROM HE'S AN IDIOT
WITH HIS MONEY?
121
00:06:17,627 --> 00:06:19,338
LIKE THE COVER SAYS,
122
00:06:19,378 --> 00:06:22,299
HE GOT HIS START AS A ROUGHNECK
IN THE OIL FIELDS
123
00:06:22,341 --> 00:06:24,592
THEN TURNED INTO A WILDCATTER
AND MADE A FORTUNE BY THE TIME
124
00:06:24,634 --> 00:06:27,386
HE WAS 30. HE'S A TOUGH GUY.
HIS TRICK'S PULLING OIL
125
00:06:27,428 --> 00:06:29,806
WHERE IS HE NOW?
OUT OF PLACES NOBODY ELSE
HAS THE BALLS TO GO.
126
00:06:29,848 --> 00:06:32,351
HE'S BEEN TOLD WHAT'S GOING ON.
HE'S SOMEWHERE ON A SAILBOAT.
127
00:06:32,391 --> 00:06:34,102
HE'S COMING BACK AS QUICK
AS HE CAN. I WAS THINKING,
128
00:06:34,144 --> 00:06:35,854
FOR HIM TO SAIL UP OR DOWN
IT WOULD HAVE BEEN EASY
129
00:06:35,896 --> 00:06:38,481
THE COAST A FEW MILES, PUT INTO
A SMALL MARINA AND COME BACK
130
00:06:38,523 --> 00:06:41,360
HE WANT TO DO THAT?
WITHOUT ANYBODY ELSE KNOWING.
AND WHY WOULD
AND COMMIT THE CRIME
131
00:06:41,400 --> 00:06:43,611
I'M JUST SAYING HE COULD. MAYBE
HE WANTS THE INSURANCE MONEY
132
00:06:43,653 --> 00:06:45,280
TO GET RID OF HARRY.
OR HE WANTS
133
00:06:45,322 --> 00:06:47,949
DOESN'T LIKE THAT HE'S MARRIED
TO HIS DAUGHTER.
134
00:06:47,991 --> 00:06:50,952
WITH CAID'S SECURITY TEAM?
DID YOU CHECK
EVERYBODY AT THE COMPANY
THAT DIDN'T WEAR A SUIT
135
00:06:50,994 --> 00:06:53,288
KNEW ALL ABOUT FRANK SCHIAPPA
AND HIS USE OF A.P.'s OFFICE.
136
00:06:53,330 --> 00:06:55,957
ANY NUMBER OF PEOPLE
MIGHT HAVE KNOWN
137
00:06:55,999 --> 00:06:58,919
SOUNDS LIKE WE'RE GONNA HAVE TO
CHECK OUT ANY NUMBER OF PEOPLE.
THE CAMERAS WERE OFF
LAST NIGHT.
138
00:06:58,960 --> 00:07:01,004
WHERE'S JANE?
I DON'T KNOW.
139
00:07:01,046 --> 00:07:05,008
WELL, FIND HIM. I'M GONNA GO
AND TALK TO LASHLEY'S WIFE.
140
00:07:05,050 --> 00:07:08,511
YOU GUYS GIVE CAID'S PERSONNEL
FILES A GOOD HARD LOOK.
141
00:07:08,553 --> 00:07:11,306
ANY CRIMINAL CONNECTIONS,
SEE IF THERE'S
142
00:07:11,348 --> 00:07:13,641
ESPECIALLY HARRY LASHLEY.
DO YOU THINK HE'S DIRTY?
143
00:07:13,683 --> 00:07:16,144
WHY ELSE WOULD HE BE THERE
WELL, HE'S INVOLVED.
144
00:07:16,186 --> 00:07:17,812
IN THE MIDDLE
OF THE NIGHT?
145
00:07:17,854 --> 00:07:21,066
IT DOESN'T FEEL REAL.
146
00:07:21,108 --> 00:07:24,319
IF IT WASN'T FOR YOU PEOPLE,
I WOULDN'T BELIEVE IT.
147
00:07:24,361 --> 00:07:26,280
HARRY'S GOING TO WALK
THROUGH THE DOOR,
148
00:07:26,321 --> 00:07:28,365
JUST A STRANGE DREAM.
AND THIS IS ALL
149
00:07:28,407 --> 00:07:31,451
BUT HERE YOU ARE.
HARRY'S DEAD.
150
00:07:31,492 --> 00:07:34,454
WHEN WAS THE LAST TIME
YOU SPOKE TO HIM?
YESTERDAY AFTERNOON.
151
00:07:34,495 --> 00:07:37,582
WHERE TO GO FOR DINNER.
JUST CHITCHAT,
152
00:07:37,624 --> 00:07:40,419
CANCELING, DIDN'T SAY WHY.
THEN HE LEFT ME A MESSAGE
153
00:07:40,460 --> 00:07:44,298
THAT WASN'T UNUSUAL, CANCELING
WITHOUT GIVING ANY REASON?
154
00:07:44,339 --> 00:07:47,675
VERY HARDWORKING, VERY KEEN.
NO. HARRY WAS
155
00:07:47,717 --> 00:07:50,304
STUFF WOULD COME UP
ALL THE TIME.
156
00:07:50,345 --> 00:07:52,889
WHAT WAS HIS JOB HERE EXACTLY?
157
00:07:52,931 --> 00:07:54,599
GOOD QUESTION.
158
00:07:54,641 --> 00:07:57,352
A SORT OF JACK-OF-ALL-TRADES
HE WAS
159
00:07:57,394 --> 00:07:58,728
FOR MY FATHER,
160
00:07:58,770 --> 00:08:00,897
DID WHATEVER HE NEEDED
FROM WEEK TO WEEK.
161
00:08:00,939 --> 00:08:03,191
HAVING SOMEONE ON HAND
MY FATHER LIKED
162
00:08:03,233 --> 00:08:06,403
WITH NO TIES OR FRIENDSHIPS
WITHIN THE COMPANY.
163
00:08:06,445 --> 00:08:08,113
THAT'S A TOUGH ASSIGNMENT.
164
00:08:08,155 --> 00:08:09,614
YES.
165
00:08:09,656 --> 00:08:13,118
BUT HE ONLY JOINED THE COMPANY
WHEN WE WERE MARRIED.
166
00:08:13,160 --> 00:08:14,535
HE WAS...
167
00:08:14,577 --> 00:08:16,371
LEARNING THE ROPES.
168
00:08:16,413 --> 00:08:19,333
YOUR FATHER DIDN'T WANT HARRY
TO HAVE A SOFT RIDE
169
00:08:19,374 --> 00:08:22,461
YES, YOU COULD PUT IT
LIKE THAT.
JUST 'CAUSE HE WAS
YOUR HUSBAND.
170
00:08:22,502 --> 00:08:25,964
HE WAS A MUSICIAN.
HIS PREVIOUS EMPLOYMENT?
WHAT WAS
171
00:08:26,006 --> 00:08:28,008
JAZZ GUITARIST.
172
00:08:28,049 --> 00:08:30,010
YES. HOW DID YOU KNOW THAT?
173
00:08:30,051 --> 00:08:32,012
I LOOKED AT HIS FINGERS--
GUITARIST FINGERS.
174
00:08:32,053 --> 00:08:34,389
JAZZ WITH A FLAMENCO EDGE,
175
00:08:34,431 --> 00:08:36,557
JUDGING BY THE RIDGE
ON HIS THUMB.
176
00:08:36,599 --> 00:08:39,478
YES.
HE WAS PLAYING A GIG
177
00:08:39,519 --> 00:08:42,563
AT ONE OF THESE GHASTLY, UH,
EVENTS YOU HAVE TO GO TO,
178
00:08:42,605 --> 00:08:44,524
AND YOU STRUCK UP
A CONVERSATION.
179
00:08:44,565 --> 00:08:47,319
YOU LOVE JAZZ, SO YOU COULD
TALK WITH HIM EASILY,
180
00:08:47,361 --> 00:08:48,987
WHICH, UH, NORMALLY,
181
00:08:49,029 --> 00:08:51,281
IS QUITE DIFFICULT FOR YOU
OUT SIDE OF BUSINESS.
182
00:08:51,323 --> 00:08:55,327
I... W--YES. THAT'S--BUT--
183
00:08:55,369 --> 00:08:57,787
HE'S JUST SHOWING OFF.
I'M SORRY, MISS CAID.
184
00:08:57,829 --> 00:09:01,291
C-CAN YOU THINK OF ANY REASON
WHY HARRY WOULD HAVE BEEN
185
00:09:01,333 --> 00:09:04,627
AT THAT TIME OF NIGHT?
ON THIS FLOOR
186
00:09:04,669 --> 00:09:07,255
NO. UH, HE WOULD HAVE KNOWN
187
00:09:07,297 --> 00:09:09,883
NOR MY FATHER WERE HERE.
THAT NEITHER I
188
00:09:09,924 --> 00:09:11,426
SO?
189
00:09:11,468 --> 00:09:13,636
I UNDERSTAND FROM MY UNDERSTAND
FROM MY ASSISTANT
190
00:09:13,678 --> 00:09:15,263
THAT FRANK SCHIAPPA'S
MISBEHAVIOR
191
00:09:15,305 --> 00:09:17,932
AMONGST THE JUNIOR STAFF.
WAS AN OPEN SECRET
192
00:09:17,974 --> 00:09:20,185
HE'S NO LONGER A CAID EMPLOYEE,
BY THE WAY.
193
00:09:20,227 --> 00:09:23,230
PERHAPS HARRY HAD FOUND OUT,
194
00:09:23,271 --> 00:09:25,815
AND HE WAS TRYING
TO CATCH HIM.
195
00:09:25,857 --> 00:09:27,359
PERHAPS.
196
00:09:27,401 --> 00:09:30,028
THAT HE HAD PRIOR KNOWLEDGE
OR IS IT POSSIBLE
197
00:09:30,070 --> 00:09:32,197
THAT THE THEFT WAS
GONNA TAKE PLACE?
198
00:09:32,239 --> 00:09:35,742
YOU'RE ASKING IF HE COULD HAVE
BEEN COMPLICIT IN THE THEFT?
YES, I AM.
199
00:09:35,783 --> 00:09:37,618
NO.
200
00:09:37,660 --> 00:09:39,496
HE WAS HONEST AND GENTLE.
201
00:09:39,538 --> 00:09:41,039
NO.
202
00:09:41,081 --> 00:09:44,251
SO HE NEVER TALKED TO YOU
ABOUT THE PAINTING?
203
00:09:44,292 --> 00:09:46,461
NO. I DIDN'T APPROVE
OF BUYING IT.
204
00:09:46,503 --> 00:09:49,172
FAR TOO MUCH MONEY
$50 MILLION IS
205
00:09:49,214 --> 00:09:51,174
TO SPEND ON A SINGLE OBJECT.
206
00:09:51,216 --> 00:09:55,554
WHEN IT COMES TO ART, RATIONAL
ARGUMENTS DON'T APPLY FOR HIM.
207
00:09:55,595 --> 00:09:58,432
THAT WOULD BE KATHRYN HAWKES'
AREA OF EXPERTISE.
208
00:09:58,473 --> 00:10:00,559
KATHRYN HAWKES? SHE IS...
209
00:10:00,600 --> 00:10:04,938
FOR MY FATHER'S COLLECTION.
SHE BUYS THE ART
210
00:10:04,979 --> 00:10:08,024
IT'S A TERRIBLE TRAGEDY.
TERRIBLE.
211
00:10:08,066 --> 00:10:10,026
DID YOU KNOW MR. LASHLEY?
212
00:10:10,068 --> 00:10:12,362
I KNEW OF HIM, OBVIOUSLY,
NOT WELL. I MEAN,
213
00:10:12,404 --> 00:10:15,407
BUT, UH, THE POOR MAN.
IT'S VERY SAD.
214
00:10:15,449 --> 00:10:18,034
THE LOSS OF THE PAINTING
BUT YOU THINK
215
00:10:18,076 --> 00:10:19,827
IS THE REAL TRAGEDY HERE.
216
00:10:19,869 --> 00:10:22,414
WELL, NO. EVERY HUMAN LIFE
IS A SACRED THING.
217
00:10:22,456 --> 00:10:25,375
A UNIQUELY BEAUTIFUL TREASURE,
BUT "THE MORO" IS
218
00:10:25,417 --> 00:10:27,085
BEYOND PRECIOUS.
219
00:10:27,127 --> 00:10:28,836
YOU KNOW THE ART MARKET.
220
00:10:28,878 --> 00:10:31,839
WOULD WOULD BE WILLING AND ABLE
TO STEAL SUCH A HIGH-END PIECE?
221
00:10:31,881 --> 00:10:33,925
WORLDWIDE, THERE'S PROBABLY
A GOOD HUNDRED COLLECTORS
222
00:10:33,967 --> 00:10:35,427
WITH THE RESOURCES
223
00:10:35,469 --> 00:10:38,346
TO DO SOMETHING LIKE THIS,
AND PASSION ENOUGH
224
00:10:38,388 --> 00:10:40,723
BUT IT'S PUBLIC KNOWLEDGE
THAT MR. CAID OUTBID
225
00:10:40,765 --> 00:10:42,850
TO GET THE "THE MORO."
SHIRALI ARLOV
226
00:10:42,892 --> 00:10:44,852
MR. ARLOV IS NOT PLEASED.
227
00:10:44,894 --> 00:10:47,439
THE RUSSIAN OIL BARON?
SHIRALI ARLOV--
228
00:10:47,481 --> 00:10:49,316
HIM.
229
00:10:49,357 --> 00:10:52,360
ARLOV IS A NASTY PIECE OF WORK.
230
00:10:52,402 --> 00:10:54,362
HE HAS A LEGIT FRONT
AS AN OILMAN,
231
00:10:54,404 --> 00:10:57,073
BUT HE'S A SUPER RICH GANGSTER,
BASICALLY.
232
00:10:57,115 --> 00:10:59,451
THEY SAY HE LIKES HIS BUSINESS
RIVALS TO BE DELIVERED TO HIM
233
00:10:59,493 --> 00:11:01,786
SO HE CAN KILL 'EM PERSONALLY.
HMM.
HOG-TIED AND NAKED
234
00:11:01,828 --> 00:11:04,205
VICIOUS, GREEDY AND THE OWNER
235
00:11:04,247 --> 00:11:07,708
RENAISSANCE PAINTINGS IN RUSSIA.
SOUNDS LIKES OUR KINDA GUY.
OF THE FINEST COLLECTION OF
236
00:11:07,750 --> 00:11:09,710
TALK TO THE ORGANIZED CRIME
BOYS UPSTAIRS.
237
00:11:09,752 --> 00:11:12,464
FIND OUT WHO ARLOV'S CONNECTIONS
ARE IN CALIFORNIA,
238
00:11:12,506 --> 00:11:15,509
WHO HE'D USE FOR A JOB LIKE THIS
AND WHERE THEY WERE LAST NIGHT.
239
00:11:15,550 --> 00:11:18,011
YOU GOT IT, BOSS.
WHAT DO YOU HAVE?
240
00:11:18,052 --> 00:11:21,389
HARRY LASHLEY HAS A PAST.
TEN YEARS AGO IN CANADA,
241
00:11:21,431 --> 00:11:24,309
HE STOLE CASH FROM A VIDEO STORE
HE WAS WORKING AT.
242
00:11:24,351 --> 00:11:25,935
BUSTED AND SERVED SIX MONTHS.
243
00:11:25,977 --> 00:11:29,022
YEAH, I KNOW.
I WAS HOPING HE WAS CLEAN.
DAMN.
244
00:11:29,063 --> 00:11:31,441
THEN I TRIED TO FIND
ANY CONNECTION HE HAD
245
00:11:31,483 --> 00:11:34,444
AND THIS POPPED UP.
TO THE ART WORLD,
246
00:11:34,486 --> 00:11:36,655
A MONTH AGO, HE PAID A COMPANY
CALLED R.W. ARTS $20,000.
247
00:11:36,695 --> 00:11:39,533
THE ONLY FINANCIAL TRANSACTION
THAT'S PRETTY MUCH
248
00:11:39,574 --> 00:11:41,742
HE'S MADE RECENTLY.
WHAT'S R.W. ARTS?
249
00:11:41,784 --> 00:11:43,744
I DON'T KNOW YET.
SHELL, PROBABLY.
250
00:11:43,786 --> 00:11:47,207
JUST A MAILBOX IN LOCKESDALE,
THE ADDRESS IS
251
00:11:47,248 --> 00:11:50,293
A LITTLE FARMING TOWN
MM. THAT'S INTERESTING.
UP NORTH.
252
00:11:50,335 --> 00:11:53,296
UH, LET'S VAN PELT AND I GO UP
AND TAKE A LOOK-SEE.
YOU AND VAN PELT?
253
00:11:53,338 --> 00:11:57,258
MM. WELL, SHE'S FROM A SMALL
FARMING TOWN. AREN'T YOU?
254
00:11:57,300 --> 00:12:00,345
YES, I AM.
THAT'S WHAT YOU GUYS CALL,
RIGHT. WELL,
255
00:12:00,387 --> 00:12:03,181
UH, WHAT IS IT? COVER.
256
00:12:03,223 --> 00:12:06,893
WHAT DO YOU NEED COVER FOR?
YOU'RE A CBI OPERATIVE.
257
00:12:06,934 --> 00:12:09,770
I WAS A "CONSULTANT."
UH, I THOUGHT
258
00:12:09,812 --> 00:12:13,567
JUST FOLLOW PROCEDURE.
HAVE FUN.
259
00:12:13,608 --> 00:12:16,194
WHERE'S THE FUN IN THAT?
260
00:12:16,236 --> 00:12:17,571
SHALL WE?
261
00:12:42,345 --> 00:12:45,557
HOW CUTE IS THIS?
262
00:12:45,599 --> 00:12:47,475
IT SURE DOESN'T LOOK LIKE
263
00:12:47,517 --> 00:12:52,313
OF HIGH-END ART THIEVES.
THE LAIR
FLOWERS AND FRUIT...
NOT AT ALL.
264
00:12:54,315 --> 00:12:57,235
GALLERY AND FRAMING."
"ROB WALLACE
265
00:12:57,277 --> 00:12:58,861
BINGO.
266
00:13:00,280 --> 00:13:02,823
UH, LET'S NOT START
WITH THE BADGE.
267
00:13:02,865 --> 00:13:04,825
THE LAY OF THE LAND FIRST,
LET'S GET
268
00:13:04,867 --> 00:13:06,620
THEN WE USE THE BADGE
IF WE HAVE TO.
269
00:13:06,661 --> 00:13:08,246
WELL, OKAY.
270
00:13:08,288 --> 00:13:11,458
BUT DON'T EMBARRASS ME.
WHAT DO YOU MEAN?
271
00:13:11,499 --> 00:13:14,294
NO. WHAT DO YOU MEAN?
YOU KNOW WHAT I MEAN.
272
00:13:17,464 --> 00:13:18,506
MORNING, FOLKS.
273
00:13:18,548 --> 00:13:19,798
HI.
274
00:13:19,840 --> 00:13:21,842
MAKE YOURSELF AT HOME.
LOOK AROUND,
275
00:13:21,884 --> 00:13:24,178
WILL DO.
276
00:13:38,401 --> 00:13:40,403
HI.
277
00:13:40,445 --> 00:13:41,820
HI.
278
00:13:43,864 --> 00:13:47,243
I KNOW WHAT YOU'RE THINKING.
YOU DO?
279
00:13:47,285 --> 00:13:50,747
YOU'RE THINKING MY FIANCéE IS
A LOT YOUNGER THAN ME.
280
00:13:50,789 --> 00:13:53,832
(laughs) OH, NO.
281
00:13:53,874 --> 00:13:57,128
WELL, SHE IS. I'LL LET YOU IN
ON A LITTLE SECRET.
282
00:13:57,170 --> 00:14:00,131
I WAS HER COLLEGE PROFESSOR,
SEDUCED HER.
283
00:14:02,717 --> 00:14:05,428
MM-HMM. HER PARENTS HATED IT.
A LOT OF DRAMA.
NO KIDDING.
284
00:14:05,470 --> 00:14:08,264
TOTALLY WORTH IT, THOUGH.
RIGHT, BABE?
285
00:14:08,306 --> 00:14:11,142
OKAY, THAT'S WHAT I MEAN.
COME ON. STOP IT.
286
00:14:11,184 --> 00:14:12,935
OH, THAT'S GOOD. HE'S GOOD.
287
00:14:15,522 --> 00:14:17,856
HI. WOW.
288
00:14:17,898 --> 00:14:20,819
DO YOU THINK YOU COULD DO
A PORTRAIT OF MY FIANCéE?
NO.
289
00:14:20,860 --> 00:14:22,737
YEAH?
YEAH, YOU BET.
290
00:14:22,779 --> 00:14:25,824
IN THIS RELATIONSHIP?
WHO'S THE BOSS
NO.
291
00:14:25,865 --> 00:14:29,369
AHEM. HE'S JUST PLAYING
THE FOOL. STOP IT NOW.
292
00:14:36,417 --> 00:14:39,713
OKAY, TURN JUST A LITTLE
TO YOUR LEFT. THERE.
293
00:14:39,754 --> 00:14:41,673
GOOD.
294
00:14:43,550 --> 00:14:45,176
LOOKS GOOD.
295
00:14:47,053 --> 00:14:49,013
UH, JUST--JUST MAKE SURE
296
00:14:49,055 --> 00:14:53,142
YOU DON'T DO HER EYES
TOO CLOSE TOGETHER.
297
00:14:53,184 --> 00:14:53,685
UM...
298
00:14:53,727 --> 00:14:55,436
UM...
299
00:14:55,478 --> 00:14:57,522
I'M SORRY. I'M--I'M GETTING
IN YOUR SPACE.
300
00:14:57,564 --> 00:15:01,317
DOOR ON THE RIGHT.
UH, WHERE'S YOUR FACILITIES?
DOWN THE HALL,
301
00:15:01,359 --> 00:15:04,487
OKAY. ALL RIGHT. OKAY.
302
00:15:04,529 --> 00:15:08,282
JUST NOT TOO CLOSE, YOU KNOW?
YOU KNOW WHAT I'M SAYING?
(slaps shoulder)
303
00:15:10,660 --> 00:15:12,662
YEAH.
304
00:15:20,086 --> 00:15:22,672
JUST, UH, PASSING THROUGH TOWN,
ARE YOU?
305
00:15:22,714 --> 00:15:26,300
JUST PASSING THROUGH.
YES, UH,
306
00:15:36,018 --> 00:15:39,230
(floorboard creaks)
307
00:15:41,399 --> 00:15:43,777
YOU HAVE AN EXCELLENT NOSE.
THANK YOU.
308
00:15:56,330 --> 00:15:58,374
(door creaks)
309
00:15:58,416 --> 00:16:00,460
HAVE YOU LIVED HERE?
HOW LONG
310
00:16:00,501 --> 00:16:02,211
ALL MY LIFE.
311
00:16:16,016 --> 00:16:17,435
(door closes)
312
00:16:17,477 --> 00:16:20,271
DO YOU MIND IF I ASK YOU
A PERSONAL QUESTION?
313
00:16:20,313 --> 00:16:22,273
(floorboards creak)
THAT DEPENDS, I SUPPOSE.
314
00:16:22,315 --> 00:16:24,567
UH, UH, GO AHEAD.
315
00:16:24,609 --> 00:16:27,236
HOW LONG HAVE YOU AND PATRICK
BEEN TOGETHER?
316
00:16:27,278 --> 00:16:30,030
(door opens)
UM, NOT LONG.
317
00:16:30,072 --> 00:16:32,032
OKAY, I'M JUST GONNA SAY IT.
(chuckles)
318
00:16:32,074 --> 00:16:34,285
ABOUT MARRYING THIS GUY?
ARE YOU SURE
319
00:16:34,327 --> 00:16:37,288
I MEAN, HE KINDA APPEARS TO BE
A JERK. I MEAN, NO OFFENSE.
320
00:16:37,330 --> 00:16:39,874
I-I'M NOT MARRYING HIM.
ON, NO. YES.
321
00:16:39,916 --> 00:16:42,042
THAT'S--NO.
322
00:16:42,084 --> 00:16:44,378
DON'T WORRY ABOUT THAT.
NOT GONNA HAPPEN.
323
00:16:54,054 --> 00:16:55,348
(laughs)
324
00:17:06,359 --> 00:17:07,735
HELLO.
325
00:17:07,777 --> 00:17:10,822
JUST TO THE LEFT A LITTLE BIT.
TURN YOUR HEAD
326
00:17:10,864 --> 00:17:12,490
JUST A LITTLE BIT MORE.
327
00:17:12,532 --> 00:17:15,117
A LITTLE BIT MORE
TO YOUR LEFT.
328
00:17:15,159 --> 00:17:18,204
JUST, UH, THAT'S GREAT.
HOLD THAT, OKAY?
329
00:17:18,245 --> 00:17:21,708
LOOK DOWN. HOLD THAT.
330
00:17:21,749 --> 00:17:26,963
THIS WAY, I'M GONNA HAVE A LOT
OF LIGHT ON YOUR CHEEKBONES.
331
00:17:27,005 --> 00:17:29,590
WITH HOW GOOD THIS LOOKS...
YOU'RE GONNA BE SO AMAZED
332
00:17:31,300 --> 00:17:34,512
THE FACIAL STRUCTURE.
333
00:17:36,389 --> 00:17:39,517
OKAY. STAND UP.
334
00:17:51,362 --> 00:17:53,698
PUT YOUR HANDS IN THE AIR.
335
00:17:53,740 --> 00:17:55,700
OKAY.
336
00:17:57,660 --> 00:17:59,871
MOVE. MOVE!
337
00:17:59,913 --> 00:18:00,914
STEADY.
338
00:18:00,955 --> 00:18:03,958
STEADY.
339
00:18:04,000 --> 00:18:07,169
JUST LET ME SHOW YOU MY BADGE,
MR. WALLACE, IF YOU'D
340
00:18:07,211 --> 00:18:09,630
WE'RE FROM THE CALIFORNIA
BUREAU OF INVESTIGATION.
341
00:18:09,672 --> 00:18:11,632
OUR OFFICE KNOWS WE'RE HERE.
342
00:18:11,674 --> 00:18:14,093
THEY'LL KNOW WHO DID IT.
IF YOU KILL US,
343
00:18:14,134 --> 00:18:18,138
KILL YOU? WHY WOULD I WANT
TO KILL YOU? YOU'RE COPS?
344
00:18:18,180 --> 00:18:19,933
WELL, SHE...
345
00:18:19,974 --> 00:18:22,393
THE MURDER OF HARRY LASHLEY.
WE'RE INVESTIGATING
346
00:18:22,435 --> 00:18:24,144
LASHLEY'S DEAD?
347
00:18:27,356 --> 00:18:29,275
WHAT HAPPENED? I...
348
00:18:29,316 --> 00:18:32,486
WE WERE HOPING YOU MIGHT
BE ABLE TO TELL US THAT,
349
00:18:32,528 --> 00:18:35,489
UH, NO, THAT'S--THAT'S A COPY.
CONSIDERING YOU HAVE
THE STOLEN PAINTING.
350
00:18:35,531 --> 00:18:38,242
MR. WALLACE HERE IS
A-AN ART FORGER,
351
00:18:38,284 --> 00:18:40,160
A VERY--VERY GOOD ONE,
BY THE WAY.
352
00:18:40,202 --> 00:18:42,455
UM, THAT'S A COPY.
353
00:18:42,496 --> 00:18:44,331
HE'S NOT A THIEF.
354
00:18:44,373 --> 00:18:46,834
WELL, GIVE ME THE SHOTGUN.
YEAH.
355
00:18:46,876 --> 00:18:48,795
OH.
356
00:18:53,883 --> 00:18:55,802
MR. LASHLEY CAME TO ME
A COUPLE OF MONTHS AGO
357
00:18:55,843 --> 00:18:58,345
AND COMMISSIONED TWO COPIES
OF "THE MORO."
358
00:18:58,387 --> 00:19:00,890
HOW DID HE FIND YOU?
359
00:19:00,932 --> 00:19:05,185
PEOPLE WHO NEED MY SERVICES
TEND TO FIND ME EVENTUALLY.
360
00:19:05,227 --> 00:19:08,314
IT'S NOT A CRIME,
WHAT I DO.
361
00:19:08,355 --> 00:19:10,483
IF YOU HAVE A VALUABLE PAINTING,
IT'S ONLY SENSIBLE
362
00:19:10,524 --> 00:19:12,568
TO HAVE A COPY MADE
FOR THE DISPLAY,
363
00:19:12,610 --> 00:19:14,779
THE REAL THING'S SAFE.
SO THAT WAY,
364
00:19:14,821 --> 00:19:17,531
HE PICKED UP THE COPIES
ABOUT A MONTH AGO.
365
00:19:17,573 --> 00:19:20,701
TWO COPIES ALREADY?
SO YOU GAVE HIM
366
00:19:20,743 --> 00:19:22,120
WHAT'S THIS ONE FOR?
367
00:19:22,161 --> 00:19:25,081
THIS ONE I DID FOR MYSELF.
368
00:19:25,123 --> 00:19:27,917
IT'S A BEAUTIFUL PICTURE.
I'D COME TO LOVE HER.
369
00:19:27,959 --> 00:19:30,920
WHY DID HE WANT TWO COPIES?
370
00:19:30,962 --> 00:19:33,840
HE DIDN'T SAY.
AND YOU DIDN'T ASK QUESTIONS.
371
00:19:33,881 --> 00:19:36,550
HE PAID ME $10,000
FOR EACH OF THEM,
372
00:19:36,592 --> 00:19:38,636
SO NO, I DIDN'T ASK
ANY QUESTIONS.
373
00:19:38,678 --> 00:19:40,096
MM.
374
00:19:40,138 --> 00:19:42,598
THIS ISN'T THE REAL THING?
HOW DO WE KNOW
375
00:19:42,640 --> 00:19:44,976
I'M NOT A FORGER.
I'M AN ARTIST.
376
00:19:45,018 --> 00:19:47,311
TO TRICK ANYONE.
I'M NOT TRYING
377
00:19:47,353 --> 00:19:49,313
OKAY? I ALWAYS ADDED DETAIL
THAT ENSURES
378
00:19:49,355 --> 00:19:52,150
THAT NOBODY CAN SELL MY WORK
AS THE GENUINE ARTICLE.
379
00:19:52,191 --> 00:19:54,527
THAT'S VERY ETHICAL OF YOU.
380
00:19:54,568 --> 00:19:57,321
EXACTLY THE SAME TO ME.
IT LOOKS PRETTY MUCH
381
00:19:57,363 --> 00:19:59,406
NO, HE'S TELLING THE TRUTH.
TAKE A CLOSER LOOK.
382
00:20:02,284 --> 00:20:05,204
WHAT? WHAT AM I LOOKING FOR?
383
00:20:05,245 --> 00:20:07,915
CLOSER.
384
00:20:07,957 --> 00:20:10,543
MM. OH, I STILL DON'T...
385
00:20:10,584 --> 00:20:12,545
YOU'RE GETTING WARMER.
386
00:20:12,586 --> 00:20:13,880
HUH?
387
00:20:13,921 --> 00:20:15,923
(gasps) OH!
388
00:20:15,965 --> 00:20:18,217
A TV AERIAL.
389
00:20:18,258 --> 00:20:19,802
YES.
390
00:20:19,844 --> 00:20:22,304
THEY DIDN'T HAVE TV.
NO.
391
00:20:22,346 --> 00:20:23,472
BEAUTIFUL WORK.
392
00:20:23,514 --> 00:20:25,474
MAY I BORROW IT FOR A WHILE?
393
00:20:25,516 --> 00:20:27,476
UH, I DON'T KNOW ABOUT THAT.
394
00:20:27,518 --> 00:20:30,104
I'M GONNA GET IT BACK?
HOW--HOW DO I KNOW
395
00:20:30,146 --> 00:20:32,106
UH, LET ME PUT IT ANOTHER WAY.
396
00:20:32,148 --> 00:20:34,608
OR AGENT VAN PELT HERE
LEND IT TO ME
397
00:20:34,650 --> 00:20:37,319
WILL TAKE YOU AND THE PAINTING
BACK TO SACRAMENTO
398
00:20:37,361 --> 00:20:39,321
AND KEEP YOU THERE AND ASK YOU
MIND-NUMBING QUESTIONS
399
00:20:39,363 --> 00:20:41,199
FOR HOURS AND HOURS ON END.
400
00:20:42,992 --> 00:20:44,702
THANK YOU.
401
00:20:44,744 --> 00:20:47,705
COPIES, HUH? CLEVER.
402
00:20:47,747 --> 00:20:50,124
HARRY AND HIS ACCOMPLICES
STEAL THE PAINTING ONCE,
403
00:20:50,166 --> 00:20:52,126
BUT THEY GET TO SELL IT
THREE TIMES.
404
00:20:52,168 --> 00:20:55,213
HEY, BOSS. A.P. CAID'S
BACK FROM HIS TRIP.
405
00:20:55,254 --> 00:20:57,673
BACK TO HIS OFFICE.
HE'S ON HIS WAY
406
00:21:02,553 --> 00:21:04,430
YOU GOT IT ALL WRONG.
NO, NO, NO.
407
00:21:04,471 --> 00:21:07,433
SEE, I TOLD HARRY TO GET A COPY
MADE ON THE HUSH-HUSH.
408
00:21:07,474 --> 00:21:10,436
I MEAN, WHAT KIND OF IDIOT
IS GONNA PUT $50 MILLION
409
00:21:10,477 --> 00:21:12,980
SO ANYBODY CAN STEAL IT? HUH?
ON HIS WALL
410
00:21:13,022 --> 00:21:14,857
THAT WAS STOLEN IS A FAKE?
SO THE PAINTING
411
00:21:14,899 --> 00:21:17,235
(laughs) DAMN RIGHT, IT WAS.
412
00:21:17,276 --> 00:21:20,738
NOW THE REAL ONE IS IN MY...
(lowers voice) PRIVATE VAULT.
WITH ALL DUE RESPECT, A.P.,
413
00:21:20,780 --> 00:21:23,032
MY RESPONSIBILITY.
THE ART HERE IS
414
00:21:23,074 --> 00:21:25,743
KATHRYN, THE FEWER PEOPLE
WHO KNEW, THE BETTER.
415
00:21:25,785 --> 00:21:28,537
DIDN'T IT, HUH? (laughs)
BESIDES, IT PAID OFF,
416
00:21:28,579 --> 00:21:30,164
I MEAN, RIGHT NOW
417
00:21:30,206 --> 00:21:32,166
SON OF A BITCH OUT THERE
THERE'S SOME THIEVING
418
00:21:32,208 --> 00:21:34,168
A WHOLE LOT OF MONEY ON JUNK.
WHO SPENT
419
00:21:34,210 --> 00:21:35,544
DADDY, HARRY'S DEAD.
420
00:21:35,586 --> 00:21:37,713
OH, BABY, I KNOW.
I'M SORRY.
421
00:21:37,755 --> 00:21:41,884
I KNOW. IT'S TOO SAD, BUT, UH,
YOU KNOW, I DID LIKE THAT KID.
422
00:21:41,926 --> 00:21:43,970
CAN WE SEE THE PAINTING?
423
00:21:44,011 --> 00:21:46,180
(laughs) I'LL OPEN THE VAULT.
YOU WANT TO SEE MY BABY?
424
00:21:48,557 --> 00:21:50,935
(whistles)
425
00:21:50,977 --> 00:21:56,107
(laughs) AIN'T SHE A BEAUTY?
426
00:21:56,149 --> 00:21:59,110
OF QUATTROCENTO PORTRAITURE,
(Kathryn) A MASTERPIECE
(whistles)
427
00:21:59,152 --> 00:22:02,113
ONE OF A KIND.
$50 MILLION RIGHT THERE.
428
00:22:02,155 --> 00:22:06,075
IT'S ABOUT $10,000 RIGHT THERE.
IT'S A FAKE.
429
00:22:06,117 --> 00:22:07,451
THE HELL IT IS.
430
00:22:07,493 --> 00:22:09,536
FAKE AS A $6 BILL.
431
00:22:09,578 --> 00:22:12,832
THAT'S NOT FUNNY, SON.
TAKE A LOOK BACK HERE
BY THE TREES,
432
00:22:12,873 --> 00:22:14,708
THE GUYS ON HORSEBACK.
433
00:22:14,750 --> 00:22:17,753
THE THIRD ONE IN FROM THE LEFT,
NEXT TO THE FOOTMEN--
434
00:22:17,795 --> 00:22:20,506
I SEE THE HORSES. WHAT--
YEAH, YEAH, YEAH.
435
00:22:20,547 --> 00:22:24,426
WHAT DO YOU THINK, IS THAT
AN M16 OR A KALASHNIKOV?
SON OF A BITCH.
436
00:22:24,468 --> 00:22:26,428
I THINK IT'S A KALASHNIKOV.
YEAH,
437
00:22:26,470 --> 00:22:29,849
SON OF A BITCH. THERE'S--THERE'S
A MACHINE GUN IN MY PAINTING.
438
00:22:29,890 --> 00:22:32,643
I--
COULD YOU NOT NOTICE THAT?
HOW IN THE HELL
439
00:22:32,685 --> 00:22:36,314
A.P., I CAN ASSURE YOU,
CAN SEE IT, WHY COULDN'T YOU?
HUH? IF THIS BOZO HERE
THE PAINTING--
440
00:22:36,354 --> 00:22:39,066
NO, NO, NO, NO. YOU'RE THE ONE
WHO HAS THE GOOD EYE.
441
00:22:39,108 --> 00:22:42,736
WITH ABSOLUTE CERTAINTY
MR. CAID, I CAN STATE
NO, YOU BROUGHT ME A FAKE.
442
00:22:42,778 --> 00:22:45,739
FOR YOU AND PLACED IN YOUR HANDS
THE PAINTING WHICH I PURCHASED
443
00:22:45,781 --> 00:22:48,034
WAS GENUINE.
444
00:22:48,075 --> 00:22:50,036
I HAVE THE DOCUMENTS
TO PROVE IT.
445
00:22:50,077 --> 00:22:52,246
IN SOME CLEVER SUBTERFUGE
IF YOU CHOSE TO ENGAGE
446
00:22:52,288 --> 00:22:55,124
WITHOUT MY KNOWLEDGE,
447
00:22:55,166 --> 00:22:58,294
I CAN HARDLY BE BLAMED
FOR THE RESULTS.
448
00:22:58,336 --> 00:23:00,296
(whispers) EXCUSE ME.
(scoffs)
449
00:23:00,338 --> 00:23:02,298
THAT SON OF A BITCH HARRY--
HARRY.
450
00:23:02,340 --> 00:23:05,134
PAINTING FOR THE FAKE ONE.
HE SWITCHED OUT THE REAL
451
00:23:05,176 --> 00:23:07,427
AND THEN BLUDGEONED HIMSELF
TO DEATH, I SUPPOSE?
452
00:23:07,469 --> 00:23:11,224
YOU HAVE NO BASIS FOR THAT.
HIS CRACKHEAD MUSICIAN FRIENDS
THAT WAS PROBABLY ONE OF
453
00:23:11,265 --> 00:23:14,601
YOU DON'T KNOW THAT.
THAT'S NOT FAIR.
HE BROUGHT ALONG.
454
00:23:14,643 --> 00:23:16,603
HE SPENT TIME IN PRISON?
WERE YOU AWARE
455
00:23:16,645 --> 00:23:20,149
6 MONTHS FOR THEFT IN CANADA,
HUH. AW, F--
10 YEARS AGO.
456
00:23:20,191 --> 00:23:22,151
YES.
457
00:23:22,193 --> 00:23:24,195
I MEAN, NO, I DIDN'T.
458
00:23:24,237 --> 00:23:26,697
UM, I-I'M SURE IT DOESN'T--
459
00:23:26,739 --> 00:23:30,117
UH, I'M SURE IT'S NOT--
IT WAS TEN YEARS AGO.
460
00:23:30,159 --> 00:23:32,410
I KNEW IT.
461
00:23:32,452 --> 00:23:35,413
THIS GUY WAS NO GOOD FOR YOU.
I KNEW IT.
462
00:23:35,455 --> 00:23:39,252
BUT I KEPT QUIET, DIDN'T I?
I COULD FEEL IT,
463
00:23:39,293 --> 00:23:42,588
FOR YOUR SAKE, I FORCED MYSELF
TO TRUST THIS GUY.
464
00:23:42,629 --> 00:23:46,092
BECAUSE YOU FINALLY
HAD YOURSELF A MAN.
465
00:23:46,133 --> 00:23:49,387
HE STOLE $50 MILLION FROM ME.
DAMN IT, STEVIE.
466
00:23:51,513 --> 00:23:53,473
PLEASE. I BEG YOU.
(voice breaks)
467
00:23:53,515 --> 00:23:55,433
FIND MY HUSBAND'S MURDERER.
468
00:23:55,475 --> 00:23:58,229
WE'RE TRYING TO DO, MA'AM.
THAT'S WHAT
469
00:23:58,271 --> 00:24:00,314
THEY'LL TELL YOU THE TRUTH.
(crying)
470
00:24:00,356 --> 00:24:02,900
I WANT THE TRUTH.
471
00:24:07,654 --> 00:24:09,365
YOU CAN GO NOW.
472
00:24:09,407 --> 00:24:12,285
THAT'S ALL WE NEED
AT THE MOMENT.
473
00:24:12,326 --> 00:24:14,287
WE'LL BE IN TOUCH.
474
00:24:14,328 --> 00:24:15,162
RIGHT.
475
00:24:15,204 --> 00:24:17,664
(clears throat)
476
00:24:17,706 --> 00:24:20,418
UH, I HATE TO BE BLUNT,
MR. CAID,
477
00:24:20,458 --> 00:24:23,421
LET'S... (lowered voice)
OH, NO, YOU DON'T.
BUT YOU'RE JUST--
478
00:24:23,461 --> 00:24:25,298
WE'LL--WE'LL TALK LATER.
479
00:24:25,339 --> 00:24:28,466
HARRY HAS COPIES MADE, BUT HE
DOESN'T HANG ONE ON THE WALL
480
00:24:28,508 --> 00:24:31,762
BECAUSE IT WAS PART OF THE PLAN.
TO DISGUISE THE ROBBERY. WHY?
EVERYONE HAS TO KNOW
481
00:24:31,804 --> 00:24:34,223
THE PAINTING WAS STOLEN FOR HIM
TO HAVE ANYTHING TO SELL.
482
00:24:34,265 --> 00:24:38,227
THE PAINTING HAS TO BE MISSING.
SO HE MAKES THE SWITCH, GOES
TO STEAL THE REAL PAINTING
483
00:24:38,269 --> 00:24:40,062
KNOWING FRISKY FRANK
OFF THE WALL,
484
00:24:40,104 --> 00:24:43,274
HAS TURNED THE CAMERAS OFF.
SO WHO KILLS HIM THEN?
485
00:24:43,316 --> 00:24:45,985
WHOEVER ENDED UP DELIVERING
THE PAINTING TO A BUYER.
486
00:24:46,026 --> 00:24:48,904
HARRY OUTLIVED HIS USEFULNESS
THE MINUTE HE USED
487
00:24:48,946 --> 00:24:52,032
FROM THE ORGANIZED CRIME BOYS
TO GET INTO A.P.'s OFFICE.
WELL, WE JUST HEARD
HIS SECURITY PASS
488
00:24:52,074 --> 00:24:54,576
WE DID?
ABOUT SHIRALI ARLOV.
489
00:24:54,618 --> 00:24:57,121
HE'S IN CALIFORNIA--L.A.
YEAH. THE GOOD NEWS IS
490
00:24:57,163 --> 00:24:59,999
HE ARRIVED A COUPLE OF DAYS AGO.
WELL, THAT CAN'T BE
A COINCIDENCE.
491
00:25:00,040 --> 00:25:04,502
WHAT'S THE BAD NEWS?
THE BAD NEWS IS HE'S TRAVELING
ON A DIPLOMATIC PASSPORT.
ALL RIGHT,
492
00:25:04,544 --> 00:25:07,298
UNDER ANY CIRCUMSTANCES.
WE CANNOT TOUCH HIM
493
00:25:07,340 --> 00:25:11,093
IF WE COULD JUST ASK HIM
A COUPLE QUESTIONS--
CRYSTAL CLEAR--KEEP AWAY.
STATE DEPARTMENT WAS
494
00:25:11,135 --> 00:25:14,180
ARLOV CONTROLS AN OIL PIPELINE
ROUTE THIS COUNTRY NEEDS.
495
00:25:14,221 --> 00:25:17,724
IT'S A NATIONAL SECURITY ISSUE.
ENERGY INDEPENDENCE THERE.
ANOTHER ARGUMENT FOR
496
00:25:17,766 --> 00:25:21,437
I REPEAT, DO NOT TOUCH.
WHERE'S HE STAYING?
497
00:25:21,479 --> 00:25:23,605
OH, NO, NO.
498
00:25:23,647 --> 00:25:25,274
NO TOUCHING.
499
00:25:25,316 --> 00:25:28,235
I PROMISE.
500
00:25:28,277 --> 00:25:31,197
♪♪
501
00:26:03,770 --> 00:26:06,982
MINELLI ALWAYS SAYS NO.
IT'S HIS JOB.
THAT'S FOUR NOs.
502
00:26:07,024 --> 00:26:09,818
YOU'D WALK AWAY?
TO LISTEN TO HIM.
AND IT'S MY JOB
503
00:26:09,860 --> 00:26:15,032
LET HIM GET AWAY WITH MURDER?
IF ARLOV IS OUR MAN, YOU'D
HE DIDN'T DO THE MURDER.
504
00:26:15,074 --> 00:26:17,868
HE PROBABLY BOUGHT THE PAINTING
UNLESS WE GO TALK TO HIM.
WE'LL NEVER KNOW
FROM THE MURDERER.
505
00:26:17,910 --> 00:26:20,079
WE'RE GONNA CLOSE THIS CASE,
506
00:26:20,120 --> 00:26:23,874
ARLOV'S THE KEY.
AN INTERNATIONAL SCANDAL.
BUT NOT BY CAUSING
507
00:26:23,916 --> 00:26:27,211
I WANT TO GET HARRY LASHLEY'S
KILLER AS MUCH AS YOU DO,
508
00:26:27,253 --> 00:26:30,130
A FIG TO THE STATE DEPARTMENT.
BUT WE CANNOT GO AFTER ARLOV.
THE STATE DEPARTMENT--
509
00:26:30,172 --> 00:26:32,216
YEAH, I AGREE. SCREW 'EM.
510
00:26:32,258 --> 00:26:35,386
IN CHARGE AND YOU GUYS AREN'T.
THAT ATTITUDE IS WHY I'M
511
00:26:35,428 --> 00:26:39,932
AND WOULD YOU PLEASE LEAVE SOME
OF THOSE FOR EVERYBODY ELSE?
THEY'RE SO SMALL.
512
00:26:39,973 --> 00:26:42,893
(exhales deeply)
513
00:26:42,935 --> 00:26:45,771
I JUST DON'T UNDERSTAND
WHY A LAW OFFICER
514
00:26:45,812 --> 00:26:48,232
A KNOWN CRIMINAL.
CAN'T GO AFTER
515
00:26:48,274 --> 00:26:50,608
DAMN RIGHT.
516
00:26:52,778 --> 00:26:55,197
IF WE LEFT NOW, WE COULD
BE IN L.A. BEFORE DARK.
517
00:26:55,239 --> 00:26:56,907
WHAT?
518
00:26:56,949 --> 00:26:59,743
THE PARKING LOT IN TEN MINUTES.
TELL CHO TO MEET US IN
519
00:26:59,785 --> 00:27:01,912
UH...
520
00:27:12,923 --> 00:27:16,051
(cell phone rings)
521
00:27:16,093 --> 00:27:17,010
(ring)
522
00:27:17,052 --> 00:27:18,971
(ring)
523
00:27:19,012 --> 00:27:19,972
HELLO?
524
00:27:20,013 --> 00:27:21,557
YOU READY?
525
00:27:21,599 --> 00:27:24,101
YEAH.
ARE YOU READY?
526
00:27:24,143 --> 00:27:26,353
WHAT'S THE SIGNAL?
I'M READY.
527
00:27:26,395 --> 00:27:28,814
"SHE IS BEAUTIFUL."
528
00:27:28,855 --> 00:27:30,899
GOOD. LET'S DO THIS.
529
00:27:41,659 --> 00:27:45,539
in foreign language)
(woman singing
530
00:27:45,581 --> 00:27:49,709
(rings doorbell)
531
00:27:49,751 --> 00:27:54,006
♪♪
532
00:27:54,047 --> 00:27:56,175
(voice muffled) HI.
533
00:27:56,216 --> 00:27:59,470
UH, I-I'D LIKE TO SPEAK
WITH MR. ARLOV, PLEASE?
534
00:28:04,350 --> 00:28:06,101
(voice amplified) HI.
535
00:28:06,143 --> 00:28:09,146
UH, COULD YOU TELL MR. ARLOV
PATRICK JANE IS HERE?
536
00:28:09,188 --> 00:28:12,566
I HAVE "THE MORO" PORTRAIT THAT
WAS STOLEN A COUPLE DAYS AGO.
537
00:28:12,608 --> 00:28:15,152
I'D LIKE TO SELL IT TO HIM.
538
00:28:35,339 --> 00:28:37,841
WHAT?
539
00:28:37,883 --> 00:28:40,427
LET HIM COME IN.
540
00:28:46,350 --> 00:28:48,394
THANK YOU.
541
00:28:51,855 --> 00:28:54,441
GOOD EVENING.
542
00:28:54,483 --> 00:28:56,694
PLEASE SIT.
543
00:29:06,704 --> 00:29:09,081
"WORLD'S BEST COLLISIONS."
YOU KNOW THIS SHOW?
544
00:29:09,122 --> 00:29:11,041
NO.
545
00:29:11,083 --> 00:29:12,792
OH, YOU SHOULD CHECK IT OUT.
546
00:29:12,834 --> 00:29:16,380
IT'S, UH, VERY AMUSING
AND, UH, EDUCATIONAL.
547
00:29:16,422 --> 00:29:19,799
IT'S A LESSON FOR US ALL.
ANYTIME, ANYPLACE,
548
00:29:19,841 --> 00:29:22,969
YOUR LIFE CAN BE OVER.
BOOM...
549
00:29:23,011 --> 00:29:25,639
THAT'S VERY TRUE.
MM-HMM.
550
00:29:25,681 --> 00:29:28,225
A DRINK, A SNACK?
WOULD YOU LIKE
551
00:29:28,267 --> 00:29:31,061
UM, SPARKLING WATER.
UH, YES.
552
00:29:31,103 --> 00:29:34,147
PLEASE.
553
00:29:34,189 --> 00:29:36,108
NO ICE, ROOM TEMPERATURE.
554
00:29:38,026 --> 00:29:40,487
(Jane) Oh, and in a tall
glass please.
555
00:29:44,074 --> 00:29:48,120
(typing on keyboard)
556
00:29:48,161 --> 00:29:49,996
WHERE IS EVERYONE?
557
00:29:50,038 --> 00:29:52,207
WEIRD. THEY ALL CALLED IN
TO SIGN OUT.
558
00:29:52,249 --> 00:29:54,960
JANE WASN'T FEELING WELL,
RIGSBY'S GOT A HOT DATE,
559
00:29:55,001 --> 00:29:57,170
SON OF A--
AND CHO GOT KINGS TICKETS.
560
00:29:57,212 --> 00:29:59,465
JANE DOESN'T GET SICK,
RIGSBY'S NOT ON A DATE
WHAT?
561
00:29:59,506 --> 00:30:01,341
BECAUSE HE'S IN LOVE
WITH YOU,
562
00:30:01,383 --> 00:30:02,884
AREN'T PLAYING TONIGHT.
AND THE KINGS
YOU KNOW ABOUT THAT?
563
00:30:02,926 --> 00:30:05,845
AN EAST COAST ROAD TRIP.
YEAH, THEY'RE ON
564
00:30:05,887 --> 00:30:09,015
THEY'RE PLAYING THE KNICKS
HOW DO YOU KNOW ABOUT THAT?
TOMORROW NIGHT.
NO, I MEAN, ABOUT RIGSBY--
565
00:30:09,057 --> 00:30:12,352
THE ATTORNEY GENERAL KNOWS THAT.
EVERYBODY KNOWS THAT.
(sighs) I'M SO EMBARRASSED.
566
00:30:12,394 --> 00:30:14,229
PLEASE.
(beep)
567
00:30:14,271 --> 00:30:17,857
PICK UP THE PHONE,
DAMN IT.
568
00:30:19,318 --> 00:30:21,403
THANK YOU.
569
00:30:28,702 --> 00:30:30,245
SO...
570
00:30:30,287 --> 00:30:33,332
(clears throat)
571
00:30:33,373 --> 00:30:35,959
MR. PATRICK JANE.
572
00:30:36,001 --> 00:30:39,755
YOU HAVE A PAINTING
YOU WANT TO SELL ME?
573
00:30:39,797 --> 00:30:41,965
"THE CARLOTTA MORO"?
MM-HMM.
574
00:30:42,007 --> 00:30:45,927
I DON'T BELIEVE YOU.
YES.
575
00:30:45,969 --> 00:30:49,515
SURE.
TO TAKE A LOOK?
WOULD YOU LIKE
576
00:31:07,574 --> 00:31:10,994
ARE YOU MAD?
NO, I'M JUST KIDDING.
KIDDING.
577
00:31:11,036 --> 00:31:13,038
TO GET ME INTO THE ROOM.
IT'S JUST A PROP
578
00:31:13,079 --> 00:31:16,041
I AM AWARE THAT YOU HAVE
THE REAL PAINTING.
579
00:31:16,082 --> 00:31:18,836
YOU ARE AWARE?
OH, REALLY?
580
00:31:18,877 --> 00:31:22,005
AND HOW ARE YOU
AWARE OF THIS?
581
00:31:22,047 --> 00:31:25,258
A PREDATORY SMILE ON YOUR FACE
A GUESS, CONFIRMED BY
582
00:31:25,300 --> 00:31:27,302
ABOUT IT JUST THEN.
WHEN YOU ASKED ME
583
00:31:27,344 --> 00:31:31,473
IN NETS OF THEIR OWN MAKING,
YOU ENJOY TRAPPING PEOPLE
584
00:31:31,515 --> 00:31:34,852
THAT'S--THAT'S, UM, THAT'S
VERY PERCEPTIVE OF YOU.
DON'T YOU?
585
00:31:34,893 --> 00:31:36,436
NOT REALLY.
586
00:31:36,478 --> 00:31:38,522
(chuckles)
587
00:31:38,564 --> 00:31:42,818
MOST SUCCESSFUL CRIMINAL BOSSES
SHARE A SIMILAR PROFILE--
588
00:31:42,860 --> 00:31:44,944
SADISTIC, VIOLENT,
589
00:31:44,986 --> 00:31:48,948
AND PSYCHOLOGICALLY ASTUTE.
BUT ALSO HIGHLY METHODICAL
590
00:31:48,990 --> 00:31:51,284
(chuckles)
591
00:31:51,326 --> 00:31:54,371
WHY ARE YOU HERE,
MR. JANE?
592
00:31:54,413 --> 00:31:57,583
I'M A DETECTIVE OF SORTS.
593
00:31:57,624 --> 00:31:59,835
(Arlov shouts in Russian)
594
00:32:08,093 --> 00:32:09,969
EXPLAIN.
595
00:32:10,011 --> 00:32:13,640
WHO?
WHO KILLED HARRY LASHLEY.
I'M TRYING TO FIND OUT
596
00:32:13,682 --> 00:32:16,101
THE MAN WHO DIED IN THE COURSE
OF THE PAINTING'S THEFT.
597
00:32:16,142 --> 00:32:18,645
OH, YES, YES, I RECALL.
POOR FELLOW.
598
00:32:18,687 --> 00:32:22,065
IF YOU'RE LOOKING FOR A BRIBE,
I'M AFRAID, UM,
599
00:32:22,107 --> 00:32:24,067
YOU'RE RUNNING OUT OF LUCK.
600
00:32:24,109 --> 00:32:26,152
YOU SEE, UH, YOU DO UNDERSTAND
THAT I HAVE IMMUNITY
601
00:32:26,194 --> 00:32:28,154
FROM PROSECUTION
IN THIS COUNTRY?
602
00:32:28,196 --> 00:32:30,741
I KNOW, I KNOW. NO TOUCHING.
I SHOW YOU MY IDENTIFICATION
603
00:32:30,783 --> 00:32:33,034
TO DISCOURAGE YOU
FROM KILLING ME
604
00:32:33,076 --> 00:32:35,704
OR TORTURING ME OR SOMETHING.
YOU MIGHT NOT GET ARRESTED
605
00:32:35,746 --> 00:32:38,791
FOR IT, BUT YOU SURE WILL
MAKE SOME KIND OF A FUSS.
606
00:32:38,832 --> 00:32:40,793
OH, I DON'T MIND FUSS,
YOU KNOW?
607
00:32:40,834 --> 00:32:43,462
ANYTHING TO AVOID BOREDOM.
GIVEN YOUR IMMUNITY,
608
00:32:43,503 --> 00:32:45,881
YOU BOUGHT THE PAINTING FROM
YOU COULD TELL ME WHO
609
00:32:45,923 --> 00:32:50,009
AND INFORM TO THE POLICE? WHY?
WHY ON EARTH WOULD I DO THAT?
AND DO NO HARM TO YOURSELF.
610
00:32:50,051 --> 00:32:52,220
DIDN'T DESERVE TO DIE.
HARRY LASHLEY
611
00:32:52,262 --> 00:32:54,640
HE HAS A WIFE WHO NEEDS
TO KNOW WHAT HAPPENED.
612
00:32:54,681 --> 00:32:56,642
SHE DESERVES JUSTICE.
613
00:32:56,683 --> 00:32:58,477
(laughs)
614
00:32:58,518 --> 00:33:01,313
"SHE DESERVES JUSTICE," HUH?
ARE YOU SERIOUS?
615
00:33:01,354 --> 00:33:03,523
PERHAPS YOU HAVEN'T PAID
THE FULL PRICE
616
00:33:03,565 --> 00:33:05,818
FOR THE PAINTING YET.
617
00:33:05,859 --> 00:33:08,487
WOULD SAVE YOU SOME... MONEY.
PERHAPS AN ARREST
618
00:33:08,528 --> 00:33:11,072
THAT'S NOT A BAD THOUGHT.
OH, WELL, THAT'S--
619
00:33:11,114 --> 00:33:14,117
I-I LOVE MY ART COLLECTION.
BUT YOU SEE,
620
00:33:14,159 --> 00:33:16,035
I-I LOVE BEAUTY.
621
00:33:16,077 --> 00:33:18,956
IT'S WHY I DO WHAT I DO,
YOU KNOW?
622
00:33:18,997 --> 00:33:20,958
WHO WOULD WANT TO SELL TO ME
623
00:33:20,999 --> 00:33:23,627
IF I START SENDING MY SUPPLIERS
TO JAIL, YOU KNOW?
624
00:33:23,669 --> 00:33:27,380
TRUE. WELL, I THOUGHT
IT WAS WORTH A TRY.
625
00:33:27,422 --> 00:33:30,592
OH.
THANK YOU, AND I'M SORRY
FOR WASTING YOUR TIME.
626
00:33:30,634 --> 00:33:32,970
NOT AT ALL. NOT AT ALL.
OH, NO, NO, NO.
627
00:33:33,011 --> 00:33:37,056
YOU ARE A VERY... VERY STRANGE
KIND OF POLICEMAN.
628
00:33:37,098 --> 00:33:39,351
IT'S BEEN MOST DIVERTING.
629
00:33:39,392 --> 00:33:42,688
BEFORE I LEAVE--THE MORO?
COULD I SEE IT
630
00:33:42,729 --> 00:33:45,231
IT'S VERY BEAUTIFUL.
I'M TOLD
631
00:33:45,273 --> 00:33:48,694
YOU APPRECIATE ART, HUH?
OH, YOU--
632
00:33:48,735 --> 00:33:51,029
HMM. WHY NOT?
633
00:33:51,070 --> 00:33:53,156
(speaks Russian)
OF COURSE.
634
00:33:56,034 --> 00:33:58,119
(speaks Russian)
635
00:33:59,663 --> 00:34:01,289
WHAT'S HAPPENING?
636
00:34:01,331 --> 00:34:04,877
SOON. GET READY.
637
00:34:04,918 --> 00:34:07,671
HERE YOU GO. LOOK AT THAT.
638
00:34:07,713 --> 00:34:09,756
IT'S A... AN ITALIAN
SILK MERCHANT'S WIFE.
639
00:34:09,798 --> 00:34:12,759
IT'S--AND IT'S ALIVE.
IT'S 600 YEARS OLD.
640
00:34:12,801 --> 00:34:14,720
IT'S... IT'S IMMORTAL.
641
00:34:14,761 --> 00:34:16,555
MAY I?
642
00:34:18,306 --> 00:34:21,100
PLEASE. PLEASE.
643
00:34:21,142 --> 00:34:23,061
(gasps)
644
00:34:23,102 --> 00:34:26,899
NOW I UNDERSTAND WHY YOU WENT
TO SUCH LENGTHS TO GET HER.
645
00:34:26,940 --> 00:34:29,902
MM.
SHE IS BEAUTIFUL.
646
00:34:29,943 --> 00:34:32,529
NOW.
647
00:34:32,571 --> 00:34:35,782
(fire alarm bleeping)
648
00:34:37,534 --> 00:34:40,453
(Arlov) EVERYBODY OUT.
649
00:34:42,372 --> 00:34:46,626
OUT. OUT. OUT. PLEASE, OUT.
650
00:34:46,668 --> 00:34:51,006
(shouts in Russian)
OUT. OUT! OUT!
651
00:34:51,048 --> 00:34:52,549
OUT!
652
00:34:52,591 --> 00:34:55,635
(shouts in Russian)
653
00:34:55,677 --> 00:34:57,846
COME ON. MOVE IT!
654
00:35:00,015 --> 00:35:02,809
WELL?
655
00:35:02,851 --> 00:35:04,644
(Rigsby) YES!
656
00:35:04,686 --> 00:35:06,730
YOU BETTER CALL LISBON,
GIVE HER AN UPDATE.
657
00:35:06,772 --> 00:35:09,983
YOU CALL HER.
OH, I CAN'T. I'M DRIVING. CHO?
658
00:35:10,025 --> 00:35:12,444
I JUST ROBBED A RUSSIAN MOBSTER.
OH, COME ON, GUYS.
(Cho) NO WAY.
659
00:35:12,485 --> 00:35:15,030
YOU CAN'T CALL LISBON?
WHOO! (laughs)
(starts car)
660
00:35:15,072 --> 00:35:16,823
HA HA.
661
00:35:16,865 --> 00:35:19,576
(Patrick) YOU GONNA BE GRUMPY
LIKE THIS IN THE ROOM?
662
00:35:19,618 --> 00:35:21,578
YES, I AM.
663
00:35:21,620 --> 00:35:23,914
I'M JUST ASKING. I DON'T THINK
IT'S VERY PROFESSIONAL.
664
00:35:23,956 --> 00:35:26,124
SERIOUSLY, DON'T PUSH ME.
I SAID I WAS SORRY.
665
00:35:26,165 --> 00:35:28,460
TO STAY AWAY FROM ARLOV.
YOU HAD EXPRESS ORDERS
666
00:35:28,501 --> 00:35:30,253
I DIDN'T TELL YOU.
BUT THAT'S WHY
667
00:35:30,295 --> 00:35:32,923
BUT THAT'S BESIDE THE POINT.
YOU HAVE TOTAL DENIABILITY.
668
00:35:32,965 --> 00:35:36,384
THIS CASE IS NOT CLOSED.
THE POINT IS, MY BRILLIANT PLAN
WORKED LIKE CLOCKWORK.
WHAT PLAN?
669
00:35:36,426 --> 00:35:39,930
YOU HAVEN'T DONE ANYTHING YET.
NOT YET, BUT YOU WATCH.
670
00:35:39,972 --> 00:35:41,848
NO, I DISAGREE. MM-HMM.
671
00:35:41,890 --> 00:35:44,101
MORNING!
672
00:35:44,142 --> 00:35:47,228
I'LL GET BACK TO YOU.
673
00:35:47,270 --> 00:35:48,855
TA-DA!
674
00:35:48,897 --> 00:35:51,190
WHAT THE HELL?
675
00:35:51,232 --> 00:35:53,026
YOU GOT IT BACK.
676
00:35:53,068 --> 00:35:55,112
BRING HER TO ME.
677
00:35:55,153 --> 00:35:57,823
OH, BABY! OH!
678
00:35:57,864 --> 00:36:00,033
THIS IS FABULOUS.
679
00:36:00,075 --> 00:36:02,452
DID HE HAVE IT?
WAS IT ARLOV?
YES, IT WAS.
680
00:36:02,494 --> 00:36:04,704
HOW DID YOU GET IT BACK?
681
00:36:04,746 --> 00:36:06,832
OH, UM... HMM.
I STOLE IT.
682
00:36:06,873 --> 00:36:10,168
ARE YOU SERIOUS?
COULD DO LEGALLY, AS YOU SAID.
WELL, THERE WAS NOTHING WE
683
00:36:10,209 --> 00:36:13,421
BUT ARLOV WAS IN POSSESSION
OF A STOLEN PAINTING.
684
00:36:13,463 --> 00:36:15,298
SO THERE WAS NOTHING
HE COULD DO EITHER.
685
00:36:15,340 --> 00:36:17,300
THIS GETS BETTER AND BETTER.
686
00:36:17,342 --> 00:36:19,970
I GET THE PAINTING BACK.
FIRST OF ALL,
687
00:36:20,012 --> 00:36:22,889
SECOND, WHEN ARLOV FINDS OUT
THAT I'VE GOT IT,
688
00:36:22,931 --> 00:36:26,018
IT'LL KILL HIM.
WHO CARES ABOUT ARLOV?
689
00:36:26,059 --> 00:36:29,270
THE DAMN PAINTING?
WHO CARES ABOUT
690
00:36:29,312 --> 00:36:32,107
YOU ASSURED ME YOU WOULD
FIND HARRY'S KILLER.
691
00:36:32,149 --> 00:36:34,526
WE'RE DOING EVERYTHING WE CAN,
STEVIE,
692
00:36:34,567 --> 00:36:38,196
A LOT LEFT FOR US TO DO.
BUT THERE'S NOT
I KNOW YOU LOVED HIM.
LOOK, STEVIE,
693
00:36:38,237 --> 00:36:40,949
BUT HE WAS PART OF THIS THEFT.
AND I LIKED HIM, TOO,
694
00:36:40,991 --> 00:36:44,870
IS A GOOD THING THAT HE'S GONE,
HE BETRAYED ME. IN A WAY, THIS
695
00:36:44,911 --> 00:36:46,705
BECAUSE YOU COULD BE
HAVING CHILDREN
696
00:36:46,746 --> 00:36:49,958
ALL RIGHT? YOU THINK OF THAT.
WITH THIS BUM RIGHT NOW.
697
00:36:50,000 --> 00:36:52,919
WE DODGED A BULLET HERE.
COME ON, GIVE ME A HUG.
698
00:36:52,961 --> 00:36:55,797
(chuckles) LOOK, WE'RE GONNA
FIND YOU A GOOD MAN.
699
00:36:55,839 --> 00:36:59,300
WE SENT OUT A MESSAGE HERE
THE MAIN THING IS
700
00:36:59,342 --> 00:37:01,887
THAT NOBODY MESSES
WITH A.P. CAID.
(raps desk)
701
00:37:01,928 --> 00:37:04,806
THANK YOU, THANK YOU.
702
00:37:13,982 --> 00:37:16,193
I HAD A DAUGHTER ONCE.
703
00:37:19,112 --> 00:37:23,324
SHE DIED. KILLED.
IT WAS MY FAULT.
704
00:37:23,366 --> 00:37:26,285
THAT'S HOW I KNOW THAT A MAN
WHO TREATS HIS ONLY DAUGHTER
705
00:37:26,327 --> 00:37:29,247
(whispers) JANE.
THE WAY YOU DO IS A FOOL.
706
00:37:29,288 --> 00:37:31,374
WHAT DID YOU SAY?
YOUR CHILD IS HURTING,
707
00:37:31,416 --> 00:37:34,377
OVER THIS PETTY VICTORY
AND YOU'RE CROWING
708
00:37:34,419 --> 00:37:36,379
LIKE A COCKEREL
ON A DUNG HEAP.
709
00:37:36,421 --> 00:37:38,840
EMOTIONALLY STUNTED FOOL.
YOU'RE A BLIND, VAIN,
710
00:37:38,882 --> 00:37:41,927
YOU CARE MORE ABOUT THIS--
FOR THIS PAINTING,
711
00:37:41,968 --> 00:37:45,805
FOR ALL THIS RUBBISH--THAN YOU
DO THE CHILD THAT LOVES YOU.
712
00:37:45,847 --> 00:37:48,433
YOU FOUND MY PAINTING.
713
00:37:48,474 --> 00:37:52,353
AND NOW I'M GOING TO BE PATIENT
I AM GRATEFUL.
714
00:37:52,395 --> 00:37:55,107
AND TELL YOU, YOU GET THIS CLOWN
OUT OF MY OFFICE...
715
00:37:55,148 --> 00:37:57,734
RIGHT NOW.
MAKE YOU UNDERSTAND?
HOW AM I GONNA
716
00:37:57,776 --> 00:38:01,029
JANE--
HOW AM I GONNA MAKE YOU
UNDERSTAND? SEE THIS?
717
00:38:01,071 --> 00:38:03,115
SEE THIS? THIS IS NOTHING.
IT'S NOTHING.
718
00:38:03,156 --> 00:38:04,616
(Lisbon) JANE!
WHAT ARE YOU DOING? HEY!
719
00:38:04,657 --> 00:38:06,826
WHAT ARE YOU, NUTS?
(Stevie) DON'T!
720
00:38:06,868 --> 00:38:09,996
JANE, HAVE YOU GONE CRAZY?
JANE?
I'M JUST DOING MY JOB.
OH, NO, NO.
721
00:38:10,038 --> 00:38:12,290
LOOK. YOU'D THINK THAT SOMEONE
THAT HAS DEDICATED THEIR LIVES
722
00:38:12,331 --> 00:38:15,168
TO FINE ART WOULD WANT TO SAVE
A MASTERPIECE FROM BURNING UP.
723
00:38:15,210 --> 00:38:18,504
WOULDN'T YOU? UNLESS SHE ALREADY
KNEW IT WAS JUST ANOTHER FAKE.
724
00:38:18,546 --> 00:38:21,716
I'M JUST SHOCKED, THAT'S ALL.
NO, NOT AT ALL. I'M JUST--
725
00:38:21,758 --> 00:38:26,179
YES, IT IS. I ONLY FOUND OUT
IS IT A FAKE?
AFTER I STOLE IT,
726
00:38:26,221 --> 00:38:30,349
BUT KATHRYN KNEW, BECAUSE IT WAS
SHE WHO STOLE THE ORIGINAL,
727
00:38:30,391 --> 00:38:33,311
AND IT IS SHE WHO STILL HAS IT
IN HER SAFE POSSESSION.
728
00:38:33,352 --> 00:38:34,938
NO.
729
00:38:34,980 --> 00:38:38,233
NO.
IS THAT TRUE, KATHRYN?
730
00:38:38,275 --> 00:38:41,402
FOR YOURSELF, KATHRYN--
HORRIBLE JOB YOU FOUND
731
00:38:41,444 --> 00:38:43,822
SNATCH UP BEAUTIFUL THINGS
HELPING A GREEDY EGOTIST
732
00:38:43,863 --> 00:38:46,741
HE HAS NO ABILITY
TO APPRECIATE.
733
00:38:46,783 --> 00:38:50,495
AND YOU DON'T GET PAID MUCH,
DO YOU?
734
00:38:50,536 --> 00:38:53,206
BEAUTY AROUND YOU,
ALL THE MONEY,
735
00:38:53,248 --> 00:38:56,626
AND YOU CAN'T HAVE ANY OF IT.
VERY FRUSTRATING.
736
00:38:56,668 --> 00:38:58,628
NOT AT ALL.
737
00:38:58,670 --> 00:39:02,381
HARRY CAME TO YOU FOR ADVICE
ABOUT THE PAINTING.
738
00:39:02,423 --> 00:39:06,469
COPY FOR YOUR OWN PERSONAL USE.
YOU ASKED HIM TO MAKE A SECOND
739
00:39:08,138 --> 00:39:10,223
DID YOU BLACKMAIL HIM? HUH?
740
00:39:10,265 --> 00:39:13,685
THE THEFT CONVICTION IN CANADA,
MUST'VE KNOWN ABOUT
741
00:39:13,726 --> 00:39:16,229
THREATENED TO TELL A.P.
AND DESTROY THE LIFE
742
00:39:16,271 --> 00:39:18,315
HE WAS BUILDING WITH STEVIE.
743
00:39:18,356 --> 00:39:21,776
IT'S ALL NONSENSE, A.P.
IT'S NONSENSE.
CARE TO COMMENT ON THAT?
744
00:39:21,818 --> 00:39:24,403
YOU HAD TWO COPIES MADE--
OH, IS IT? THE REASON
745
00:39:24,445 --> 00:39:27,240
TO ARLOV, AND YOU COULD KEEP
SO THAT YOU COULD SELL ONE
746
00:39:27,282 --> 00:39:30,618
THE ORIGINAL PICTURE
FOR YOURSELF
747
00:39:30,660 --> 00:39:32,704
BECAUSE, OF COURSE,
748
00:39:32,745 --> 00:39:34,914
THAT REALLY DESERVES IT.
YOU'RE THE ONLY ONE
749
00:39:34,956 --> 00:39:36,916
IT WAS HER? SHE DID IT?
750
00:39:36,958 --> 00:39:39,627
YES. YES. LIKE I SWITCHED
THE PAINTINGS WITH ARLOV,
751
00:39:39,669 --> 00:39:42,797
THE ORIGINAL WITH HARRY
SHE SWITCHED
752
00:39:42,839 --> 00:39:45,258
RIGHT BEFORE IT WENT
INTO THE VAULT.
753
00:39:45,300 --> 00:39:48,553
ALL YOU HAD TO DO WAS COME UP
IN HERE AFTER HOURS
754
00:39:48,594 --> 00:39:50,763
AND TAKE IT OFF THE WALL.
755
00:39:53,432 --> 00:39:56,978
SUSPECTED SOMETHING, DIDN'T HE?
(Patrick) BUT HARRY
756
00:39:57,020 --> 00:39:59,314
HE TRIED TO STOP YOU...
757
00:40:06,905 --> 00:40:08,865
(grunts)
758
00:40:08,907 --> 00:40:12,118
AND YOU KILLED HIM.
759
00:40:12,160 --> 00:40:13,828
TELL THE TRUTH, KATHRYN.
760
00:40:13,870 --> 00:40:16,664
OUR PEOPLE ARE GOING THROUGH
YOUR APARTMENT RIGHT NOW.
761
00:40:16,706 --> 00:40:18,499
THEY WILL FIND THAT PAINTING
762
00:40:18,541 --> 00:40:21,711
EVEN IF THEY HAVE TO TEAR
THE PLACE TO THE GROUND.
763
00:40:21,753 --> 00:40:23,838
THERE IS NO POINT
IN LYING ANYMORE.
764
00:40:23,880 --> 00:40:26,465
I'M SORRY.
765
00:40:26,507 --> 00:40:28,968
I NEVER MEANT TO KILL HIM.
(voice breaking)
766
00:40:29,010 --> 00:40:31,179
WHY DID HE TRY TO STOP ME?
767
00:40:31,221 --> 00:40:34,557
NO, BABY, DON'T.
NO, NO, BABY.
NO!
768
00:40:34,599 --> 00:40:38,228
IT WAS AN ACCIDENT.
FOR THE MURDER OF HARRY LASHLEY.
KATHRYN, YOU'RE UNDER ARREST
769
00:40:38,270 --> 00:40:41,647
BEHIND YOUR BACK.
I'M SO SORRY. IT WAS A MISTAKE.
PUT YOUR HANDS
OH, I'M SO SORRY.
770
00:40:41,689 --> 00:40:43,900
(Lisbon) COME ON. LET'S GO.
(sniffles)
771
00:40:43,942 --> 00:40:45,484
(Kathryn whispers) I'M SORRY.
772
00:40:48,071 --> 00:40:50,031
UH, FOR WHAT IT'S WORTH,
773
00:40:50,073 --> 00:40:52,242
WANTED TO APOLOGIZE
I, UH, I JUST
774
00:40:52,284 --> 00:40:54,244
FOR MY PIOUS RANT EARLIER.
775
00:40:54,286 --> 00:40:57,997
TO BURN THE PICTURE, AND...
I NEEDED A PRETEXT
776
00:40:58,039 --> 00:41:02,210
YOUR FAMILY DYSFUNCTION
(sniffling)
BECAME IT.
777
00:41:02,252 --> 00:41:04,629
NO APOLOGY NEEDED.
WELL, NO, SIR.
778
00:41:04,670 --> 00:41:07,548
HARD TRUTH IN WHAT YOU SAID.
THERE WAS SOME GOOD,
779
00:41:07,590 --> 00:41:09,467
YES, THERE WAS,
780
00:41:09,508 --> 00:41:13,721
BUT YOU KNOW, NO ONE LIKES
TO BE TOO JUDGMENTAL.
781
00:41:13,763 --> 00:41:15,681
HUH.
782
00:41:21,938 --> 00:41:25,566
(Cho) CRAZY, ISN'T IT?
(Rigsby) HARD TO BELIEVE
IT'S A FAKE.
783
00:41:25,608 --> 00:41:27,693
WORTH $50 MILLION,
ONE PAINTING'S
784
00:41:27,735 --> 00:41:29,988
THE OTHER'S ONLY WORTH
A FEW THOUSAND.
785
00:41:30,029 --> 00:41:31,906
THEY LOOK IDENTICAL.
786
00:41:31,948 --> 00:41:35,701
YEP. CRAZY.
787
00:41:35,743 --> 00:41:39,038
NOW THAT YOU MENTION IT,
I'M NOT SURE, UH...
788
00:41:44,919 --> 00:41:47,339
TO KEEP TRACK AFTER A WHILE.
EH, IT'S JUST SO HARD