Remington Steele S01E05

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Remington Steele S01E05

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00:01Five minutes of Cairo.
00:02You're here to steal it.
00:04No, darling. You are.
00:06He's stolen it once already.
00:08I know him better than that.
00:19I was kidnapped by someone named Gutman coming out of your apartment.
00:22I knew we shouldn't have accepted this case.
00:24You might try an explanation of your actions.
00:27How about stealing the painting with me tonight?
00:29You've done this before, haven't you?
00:31What makes you think that?
00:44Try this for a deep, dark secret.
00:47The great detective Remington Steele?
00:50He doesn't exist.
00:52I invented him. Follow.
00:54I always loved excitement.
00:56So I studied and apprenticed
00:58and put my name on an office.
01:00But absolutely nobody knocked down my door.
01:03A female private investigator seemed so... feminine.
01:07So I invented a superior.
01:09A decidedly masculine superior.
01:12Suddenly there were cases around the block.
01:14It was working like a charm.
01:17Until the day he walked in
01:19with his blue eyes and mysterious past.
01:22And before I knew it, he assumed Remington Steele's identity.
01:26Now I do the work and he takes the bows.
01:29It's a dangerous way to live.
01:32But as long as people buy it, I can get the job done.
01:36We never mix business with pleasure.
01:39Well, almost never.
01:42I don't even know his real name.
01:56THE END
02:26© BF-WATCH TV 2021
02:56© BF-WATCH TV 2021
03:26© BF-WATCH TV 2021
03:56© BF-WATCH TV 2021
04:21Five News of Cairo.
04:23And you're familiar with the painting?
04:25Only from my reading.
04:26Possibly our most important acquisition.
04:28It represents the absolute peak of Fouchard's career.
04:31And it was actually painted on Egyptian ground
04:33during the build in the Suez Canal.
04:36I see your reading must be quite extensive.
04:38The work does have a rather colorful history.
04:41We have good reason to believe this is what the thief was after.
04:44Which is why I must insist we remove it from display
04:47and place it in the vault immediately
04:49or give it to Mr. Steele for safekeeping.
04:51No question.
04:52The insurance company will only cover us
04:54if the painting remains in the museum.
04:56Besides, the exhibit is due to open tomorrow.
04:59The promotion, the media campaign.
05:01We're simply too close to stop all that.
05:03Mr. Steele, please explain to this philistine
05:05that if we lose the painting, there will be no exhibit.
05:08Now, spare us your precious temper, Ahmed.
05:10The alarm system proved effective enough.
05:12And I'm confident Mr. Steele knows how to catch a thief.
05:15Alarm systems?
05:17I tell you, Steele,
05:19this thief will not sleep until the nudes are in his arms.
05:22Yes, well, I appreciate your mutual concern
05:24of the situation, gentlemen.
05:25However, I'm afraid there's nothing my agency can do for you.
05:28What?
05:29I'd only be too glad to suggest some others if you'd like.
05:32But you come so highly recommended.
05:34I realize the money may be less than you're accustomed to.
05:37It's not the money, Edward.
05:39It's the curse, isn't it?
05:41This really isn't necessary.
05:43It was only a small dent.
05:45I said I'd pay. I'm very late.
05:47The insurance company.
05:49Oh, excuse me.
05:51Oh, I believe the moving violation is yours, too.
05:58You'll have to call my insurance company and pay for this.
06:01But before that, I want to know what my schedule looks like this week.
06:04You know, the museum people are in there already
06:06pouring out their problems of the evening.
06:08I thought I asked about my schedule.
06:10Yes, ma'am.
06:11Uh, the schedule.
06:13This week, light to moderate, scattered lunches.
06:16Good enough.
06:17By punch-out time today, I want it wall to wall.
06:20Understand?
06:22You're right. Having nice days lost all its meaning.
06:25Surely, Mr. Steele, you don't subscribe to all that superstitious nonsense.
06:29Not in so many words.
06:31Uh, Miss Holt, my associate, gentlemen.
06:33Edward Coxworth.
06:34I believe it was you I spoke with on the phone.
06:36Yes, of course.
06:37And our curator, Achmed Koyun.
06:39A pleasure.
06:40Particularly if you can help persuade Mr. Steele to accept our cause.
06:44I beg your pardon?
06:45Well, I had the impression from our phone conversation
06:47that your agency could help us,
06:49but Mr. Steele feels his caseload is already overwhelming.
06:52Does he really?
06:53What, with the Murphy affair and the Wolfe case?
06:56Ah, yes, the Wolfe case.
06:58Well, as a matter of fact, something urgent has just come up.
07:01If you could spare a moment of your time, sir.
07:04With your permission, gentlemen.
07:11You turned them down?
07:13Believe me, Laura, we want no part of this one.
07:15Falling in love with our letterhead again, are we?
07:17Since when do you decide which cases I'm going to take?
07:20This picture has a very nasty background.
07:22I was only thinking of the agency.
07:24Well, the agency has bills to pay and a reputation to maintain.
07:27Surely then there's a missing person we can find.
07:29Afraid not.
07:30An unsolved murder that's baffled the finest minds in law enforcement.
07:34Fresh out.
07:35A child weeping for his lost cocker spaniel.
07:38Really?
07:39Really.
07:40Laura, I realize we haven't known each other very long,
07:43and that refusing this case may cost the agency a great deal.
07:45Nonetheless, with no questions asked, no explanations demanded,
07:49I'm simply asking that you accept my instincts about this on faith and...
07:54Trust me.
07:56Well, I'm very pleased that you could see your way clear to help us.
08:00A case simply too compelling to ignore.
08:03And apparently a most persuasive associate.
08:05We'll be expecting you soon.
08:07Come, Ahmed.
08:10Has Murphy come up with that museum research I asked for?
08:14I...
08:17Miss Wolfe, does it strike you that Laura seems unusually...
08:20Wired? Cranky? Bent out of shape?
08:23In a word. Any reason for the cause?
08:25Well, she did ask me to overload her schedule once before when she was expecting.
08:29Somebody call for the car.
08:30Tell Murphy I need to see him as soon as he can get to us.
08:34As usual, you've been an enormous help, Miss Wolfe.
08:38Laura, I don't mean to pry, but if something's happened...
08:42I'm fine, and we've got work to do.
08:45But you're...
08:46Look, I don't know what your problem with this case is,
08:49but you're beginning to sound a lot like my...
08:51Hello?
08:52Anybody home?
08:54Mother.
08:57Mother?
08:59Mother?
09:02Laura, dear.
09:09Still have to wear your hair up, I see.
09:11Hello, Mother.
09:12You know I would have picked you up at the airport.
09:14Oh, that's all right.
09:15I mean, the cab drivers have to get rich on somebody's money.
09:20You remember Bernice?
09:21Of course. It's been so long.
09:23You're well?
09:24Very.
09:25And who might this be?
09:27Who?
09:28Uh, um...
09:30Oh, this is...
09:32Remington Steele.
09:34So you're Laura's mother.
09:36At last I get to meet her boss.
09:38Heard a lot about me, have you?
09:40Not really.
09:41I'm afraid we have to run right now.
09:43Bernice can get you settled at the house.
09:45Maybe we could have dinner together.
09:47Splendid idea. I know just the place.
09:49In fact, the very table.
09:51Oh?
09:52Don't you have some previous engagement, Mr. Steele?
09:55Cancel. Whoever it is.
09:56Until tonight, then, uh...
09:58Abigail.
09:59Abigail.
10:00We mustn't be late, Mr. Steele.
10:05You know, these offices aren't really bad at all.
10:11You mean to tell me you haven't spent any time with your mother in nearly three years?
10:15We don't communicate very well.
10:18It appears the thief came in through that skylight up there,
10:21got a rope over the rafter,
10:23and disconnected the floor alarm here.
10:25But she gave you life, nurtured you from infancy.
10:28Could we just drop it, please?
10:30The case?
10:31My mother!
10:32Sorry. Didn't realize she was such a jolt to your equilibrium.
10:35There's nothing wrong with my...
10:37Excuse me.
10:38Steele, here is that device used on the laser systems.
10:41I assume the alarms on the outside of the building were cut by the thief as well?
10:45No, I don't think so. But I'll have them checked.
10:48Come, please. The painting is this way.
10:50With the exhibition only a day away, we thought it best not to inform the police.
10:54A choice for mine, I'd cancel it altogether and lock the fouchard away.
10:58Alas.
10:59Ah, my assistant Catherine Simone, Miss Holt.
11:02Hello. How you do?
11:04Mr. Steele.
11:06Thank you for responding so quickly.
11:08It was Catherine who first suggested your agency to us.
11:11You say the alarm in this room is what stopped him?
11:14What kind of alarm was it?
11:16Forgive me, but our insurance agency forbids our revealing.
11:19Yes, of course. We understand.
11:21I knew when we acquired the nudes, there would be trouble.
11:25Curse.
11:26The curse?
11:27The women's religion forbids them from appearing nude in front of any man except their husband.
11:32Somehow, Fouchard managed to get them to pose for him.
11:35I need to see you alone tonight.
11:37Where?
11:38I'll find you.
11:39Anyway, the reigning Pasha got wind of this, so he tried to have the picture destroyed.
11:44But it was smuggled out of the country, so he placed a curse on anyone who dared to possess it.
11:50Sounds rather bizarre, doesn't it?
11:52Not to the last five owners. They were all killed.
11:55Accidentally, of course.
11:56Shall we all proceed this way?
12:15Catherine, wasn't it?
12:17And I always thought Felicia suited you so much better.
12:20You're hardly one to talk of names, Mr. Steele.
12:23Have you missed me?
12:25Whenever possible.
12:26Poetic that the nude should bring us back together again, isn't it?
12:29Don't tell me. Let me guess. You're here to steal it.
12:33No, darling. You are.
12:37Mr. Steele?
12:40Would you care to join us?
12:42Would you care to join us?
12:44Remarkable sculpt of that Rodin.
12:47It's a Catelli.
12:51I still love it.
12:54Miss Holt?
13:13Mother, you don't have to clean my bathroom.
13:15It'll aggravate your asthma.
13:17Oh, well, you know how I hate mess.
13:22Have you spoken to Frances recently?
13:25I called her on her birthday, all right?
13:27But did you really listen to her?
13:29Mother...
13:30Your sister has done very well for herself, Laura.
13:33You could take a lesson from her.
13:35Do you know that her husband, Donald's company,
13:38I stopped counting at seven.
13:40Well, do you have any idea how far the jogging shoe has come
13:43in the past five years?
13:45I have to go answer the door now, Mother.
13:48Always running somewhere.
13:52Hello, partner.
13:54Hi.
13:55I got the background information on that painting you asked for.
13:58So where's your mother?
14:00Cleaning the bathroom.
14:02Oh, I see.
14:05So where's your mother?
14:07Cleaning the bathroom.
14:08You made your mother clean the bathroom?
14:10I didn't make...
14:11Look, just give me the highlights, all right?
14:13Okay.
14:16All right, the five nudes of Cairo.
14:18They've been through a lot of hands,
14:20and yes, most of them are not around to talk about it anymore.
14:23But get this.
14:24Apparently, six years ago,
14:26the painting was stolen from a private collector
14:28by a woman and a guy calling himself Michael O'Leary.
14:32Ring any bells?
14:34Michael O'Leary.
14:37Wait a minute.
14:39When we first investigated our priceless Remington Steel,
14:43didn't we come across five passports with five different names?
14:46One of them was for a...
14:48Michael O'Leary.
14:50But you're not seriously suggesting...
14:52Think about it.
14:53If he really is a thief,
14:55what better place for him to watch for a big score to come along
14:58than in a detective agency?
15:00But he didn't even want us to take the case.
15:02Less interference that way.
15:04I'm telling you, Laura,
15:05he's been waiting for an opportunity like this,
15:07and there's nothing to keep him from lifting the canvas
15:09and leaving our agency to take the rap for it.
15:12He's stolen it once already.
15:15I think you're jumping to conclusions.
15:18I know him better than that.
15:20No, you don't.
15:23Then we'll both try and keep an open mind about it.
15:25In the meantime,
15:26I want you to run a check on the museum's employees.
15:29Those outside alarms weren't cut,
15:31so whoever went after that painting
15:33already had access to the museum.
15:35Okay.
15:36And you call me if you need me, all right?
15:40Is your mother really in there cleaning the bathroom?
15:45She has a loving husband with a thriving business.
15:48I'm thrilled for Francis.
15:49Why is it so awful to settle down with someone like Donald?
15:53Because I don't want to marry a pair of jogging shoes.
15:56That's why.
15:57Who's asking for that?
15:58There are other alternatives, you know.
16:01Do you really mean that?
16:03Of course.
16:04Take your Mr. Steele, for instance.
16:05I bet there is a catch and a half.
16:07Mother, men aren't fish anymore,
16:10and my line isn't out there to hook a big one and reel him in.
16:14Well, your line has to be somewhere.
16:16I'm a licensed private investigator, remember?
16:19I only wish I understood exactly what that is.
16:22Are you coming upstairs with me or not?
16:24No, thank you.
16:25I will just sit here and wait and collect myself.
16:40Ah, Laura.
16:42Isn't Abigail with you?
16:45She's downstairs in the car.
16:49I'm sorry I'm not dressed yet.
16:53Wonderful.
16:54Pleasant reunion?
16:56Just peachy.
16:57Do you have any aspirin?
17:05I was just curious why you were so anxious not to take this case.
17:09Why the curse, of course.
17:11You never struck me before as the superstitious type?
17:14A minor flaw in an otherwise stainless steel.
17:17For some, it's walking under ladders, black cats,
17:20soaking umbrellas in doors.
17:23For you, it just happens to be paintings with curses.
17:26Particularly those with a track record.
17:29Tell me, how do you feel about Irish names?
17:33Any favorites?
17:35Irish names, Irish names.
17:38I once knew an Acacia I was rather fond of.
17:42How about an O'Leary?
17:44Be a dear and fix me another one of your fabulous...
17:49Oh, I'm sorry, darling.
17:51I didn't realize you were expecting someone else.
17:54I'm a touch surprised myself.
17:57Miss Bolt, isn't it?
17:59Holt.
18:01Is she here on business, or did you have something wicked in mind?
18:06Shame I didn't know about it sooner.
18:08Sounds like fun, but I have my mother downstairs.
18:11Oh, that's too kinky for my blood.
18:14Well, I won't hold up the action any longer.
18:17I'll give Mother your apologies, Mr. Steele.
18:19Laura, would you believe me if I said I have no idea
18:22how that woman got into my bedroom?
18:24What a chance!
18:26I just thought I'd ask.
18:46Formidable entrance, Felicia.
18:48A front door too traditional for you?
18:50Too dangerous. There's some desperate men looking for me right now.
18:53So you thought you'd pop in and tell me all about it?
18:56Well, the evening does seem to be ours now.
18:59Doesn't it?
19:14Excuse me, miss. Please get the door.
19:18Thanks a lot. Thanks very much.
19:21Hey, I hate to bother you again, but is that your car out there?
19:25I think it's blocking our van.
19:27My daughter parked it there. I'll move it for you.
19:30Thanks a lot. That's a really big help. I really appreciate that.
19:35So you swindled a small fortune from this Gutman character, is that it?
19:39I had every intention of paying him back in Monte Carlo, with interest.
19:43But Dice can be so cruel.
19:45You know, he threatened me with some rather grisly results
19:48if I didn't find a way to make amends.
19:50Why do it with the Five Nudes of Cairo?
19:52The insurance company we recovered it for showed their gratitude by not paying us.
19:56Sentimental reasons. I just happened to chance upon a photograph
19:59of the famous Remington Steele.
20:01And when the painting happened to be in the same city...
20:04I knew you'd only be too willing to help if I lost my footing.
20:08Must you get dressed?
20:10You know, Felicia, I detect a note of blackmail in your voice.
20:14You're lucky when you put it like that.
20:16Instead, why don't we simply steal the painting together again,
20:19disappear to some place decadent and brush up on our Bacchanalian world?
20:23I'm afraid I'm all welled out these days.
20:26Well, surely being Remington Steele can't be all that much fun.
20:30You'd be surprised.
20:32But I'd so hate to expose him to the world as a fraud.
20:35What an awful flap. And that lovely associate of yours,
20:38won't she be crushed when she finds out you're not really Remington Steele?
20:41Mortally, I'm sure.
20:43Well, then, have we reached an understanding?
20:46It seems you've left me with little choice.
20:48Hardly. The choices are just beginning.
20:59You know, darling, if I didn't know you better,
21:02I'd say some woman's finally caught you by the heart.
21:05What makes you say a ridiculous thing like that?
21:07Well, you hardly seem glad to see me at all.
21:10It's not just that. There's a new feel about you.
21:13As if you've been...
21:15What?
21:17Smitten.
21:21Excuse me.
21:29Abigail!
21:31I like to consider myself a patient person, Mr. Steele.
21:33But if Laura thinks she can just leave me sitting down there by myself...
21:36You mean she's not with you?
21:41No.
21:46Well, Felicia, you disappoint me.
21:49First you fail to deliver the painting on time,
21:52and then you go running to a famous detective.
21:55You fool.
21:57This is not her.
21:59Oh, no, Gutman. You're not getting out of paying me this time.
22:02But you've snatched the wrong woman!
22:04You told me to grab the woman in Steele's apartment, right?
22:07I came out of that apartment, and I grabbed her.
22:13I should know better than to hire a man who pumps iron for a living.
22:17Hey, my body's my temple, so you just lay off.
22:20Well, this is not Felicia, but she might know something.
22:24I want you to make her talk.
22:27Well, that'll cost you extra.
22:30No, I'll just call a cab or something.
22:33Grab her, Sherman.
22:36What's happening?
22:38I don't know. She can't breathe.
22:40Well, get her some water.
22:45My purse.
22:56Sherman!
23:05Sherman!
23:15Laura has always been a very sensitive girl.
23:18My middle one.
23:20We had a fight in the car on the way over, and I guess that's why she left.
23:24I'm afraid she was rather out of sorts with me as well.
23:27I remember one time we thought she'd run away from home.
23:30But you found her.
23:32Yes, in the laundry hamper.
23:34But the truth is,
23:36I just cannot bear to tell Laura's grandmother what she really does.
23:40No? What do you tell her instead?
23:43That she's a dental assistant with great prospects of marriage.
23:47Is that awful of me, to create a complete fiction about someone like that?
23:51Sounds more like a family trade.
23:56I did it! Ha-ha!
23:58I got away!
24:01Hey, the cab driver.
24:03Let's see. Here I go.
24:05Mother!
24:07Mr. Steele.
24:09Laura.
24:11Look at you!
24:13Mother, you should have seen me! I was brilliant!
24:16Laura, Mr. Steele was kind enough to ask us to dinner.
24:19You'll disappear for over two hours,
24:21show up looking like this, and call it brilliant?
24:24Well, I certainly don't.
24:26Mother, you don't understand!
24:28Ow!
24:30Try and be patient with her, Laura.
24:32That's more than she expects from a dental assistant.
24:35What?
24:37The cab driver.
24:40Here. Keep the change.
24:42You've had some sort of mishap of your life.
24:44I was kidnapped by someone named Gutman, coming out of your apartment.
24:48I knew we shouldn't have accepted this case.
24:50What do you know about this?
24:52It's not too late. We could still drop it and take off for a brief vacation.
24:55I asked you a question!
24:57Who is this Gutman? Who does he know about this?
25:00I knocked her over, and I said,
25:02I don't think you can get out of there!
25:04So please try and have a little faith!
25:08Who?
25:10It's a curse.
25:15Is he?
25:19I'm afraid so.
25:21Laura!
25:23This isn't happening!
25:25My mother's not going to find a dead body in my house!
25:29Laura.
25:30Hello, Mother.
25:32Laura, I'm sorry I lost my head a moment ago.
25:35But, uh, not that I forgive your behavior,
25:38but it was wrong of me to say so in front of your employer.
25:40That's all right, Mother.
25:42I know, but I feel that I owe Mr. Steele an apology as well.
25:44Oh, no, it really isn't necessary.
25:46I think it is.
25:48But Mr. Steele is with a client right now.
25:50Here? At this hour?
25:52He just dropped in.
25:54Well, it'll only take a moment.
25:56I'm sure he'll understand.
25:58Mother!
26:00Fascinating piece of evidence, Achmed.
26:02Ah, Abigail. Laura.
26:04Something I can do for you?
26:06No, no, I just wanted to apologize
26:08for my outburst a little while ago.
26:10Barely remembered it.
26:12Would you care to join us?
26:14No, it's been a very difficult evening.
26:16I think I'll just turn in.
26:18Good night, Mr. Steele.
26:20Good night, Mother.
26:22Oh, and good night to you, Mr...
26:24Calhoun.
26:26Sleep well.
26:34Pardon?
26:42I hope you know what's going on,
26:44because our titular head
26:46phoned me at 6 this morning with a hell of a shopping list.
26:48Look at that.
26:50100 feet of nylon rope, 6 pounds of marbles...
26:52A spear gun?
26:54He told me to go out and rent a dark station wagon
26:56with a big engine.
26:58Have you come up with anything more on the museum staff?
27:00Yeah, so far they all check out okay.
27:02And what about the assistant curator?
27:04Catherine Simone? Mm-hmm.
27:06She's only worked for the museum a couple of months.
27:08I'd have to dig a little deeper.
27:10Dig.
27:12What am I looking for?
27:14Felicia. And see what you can find out
27:16about the gutman.
27:18How long are you going to let this one go on, Laura?
27:20I don't know.
27:30I'm troubled.
27:32It's about Carlyle, don't be.
27:34The police found him this morning in a phone booth.
27:36Not far from where you live, actually.
27:40But that doesn't really alter the situation.
27:42Which, uh, situation is that?
27:46I'm no longer sure our arrangement
27:48is in the best interest
27:50of this agency.
27:52We're close to that point, aren't we?
27:54Perilously.
27:56Is there
27:58any way back from the edge?
28:00You might try an explanation of your actions.
28:04Suppose I said I was only out to protect
28:06the good of the agency.
28:08I wish I could believe that. Keep trying.
28:10How about an old lover in desperate trouble
28:12has suddenly reappeared and is blackmailing me
28:14into criminal behavior?
28:16Maybe this was a bad idea.
28:20Are you really telling me the truth?
28:22I think I'm trying.
28:24Well, I think I need more than that.
28:26Something, some statement or gesture
28:28that indicates you appreciate
28:30the gravity of this situation.
28:32How about stealing the painting with me tonight?
28:34That wasn't it.
28:36This can't be it.
28:38Look, I know it sounds twisted,
28:40but it does make a certain amount of sense.
28:42Or we were hired to catch the thief.
28:44And the thief is after the painting.
28:46So if we have it,
28:48then the thief is forced to come to us.
28:50But what if he's the thief?
28:52Then I'd be the last person
28:54he'd ask to help him, right?
28:56Well, who knows with this guy?
28:58I mean, you said yourself he's twisted.
29:00Well, I can't very well go to the museum or the police
29:02and tell them we suspect the head of our own agency now,
29:04can I? At least this way,
29:06I know what he's doing and where the painting is.
29:08Look, just don't turn your back on him.
29:10Turn back? Nonsense.
29:12We're right on schedule. Ready?
29:20Keep the engine warm and the eyes sharp, old chap.
29:22I know exactly what to do, old chap,
29:24and so help me.
29:26You split one hair too many, I'll do it.
29:28Nice to know the backup's there.
29:30How do we get in?
29:32The roof, the window, the sub-basement?
29:36I thought the service entrance would be simpler.
29:42A little going away present from Calhoun.
29:48I don't think so.
29:50I don't think so either.
29:52I don't think so either.
29:54I don't think so either.
29:56I don't think so either.
29:58I don't think so either.
30:20They put on a lot of extra guards.
30:22Hmm.
30:24That may just come in handy.
30:26Hmm.
30:36There's the alarm box.
30:38We'll never get through that in time.
30:40Maybe we better take a rain check on this.
30:44I mean that spear gun.
30:48Spear gun?
30:56Here.
30:58Pull this through.
31:00Gently.
31:26You've done this before, haven't you?
31:28What makes you think that?
31:50Oh!
31:52Stimulating, wasn't it?
31:54Different.
31:56Shall we continue?
31:58I was hoping you'd say that.
32:10What's that?
32:12An excellent cognac.
32:14Care for a touch?
32:16No, no, I couldn't.
32:18No, no, I couldn't.
32:20Oh.
32:22Well,
32:24maybe just a touch.
32:28To our first time, eh?
32:30To our only time.
32:32I don't intend to make this a frequent aspect of our work.
32:34Pity, really.
32:36There are so few forms of true intimacy left.
32:38This isn't a date, you know.
32:40Certainly beats a night in the laundry, Amber.
32:42How are we going to get through those lasers?
32:44I'm sure they've reshielded that other alarm, as well.
32:48I thought we'd ask the monsters to escort us.
32:54Wind.
33:00No, sir, I'm not playing my radio anymore.
33:04Yes, sir, yes, sir, everything's fine so far.
33:06I'm not playing my radio anymore.
33:08Yes, sir, yes, sir, everything's fine so far.
33:10Right?
33:12Okay.
33:16Nobody stifles Stokowski.
33:38No.
33:58Won't they start searching for someone now?
34:00Eventually.
34:02Most museum guards hesitate to report
34:04an army of little green monsters marching at them.
34:06Looks bad on their record.
34:08You know, you're very good at this.
34:12I think you just made my evening.
34:14And here was I beginning to think you didn't like me.
34:16I do.
34:18Some.
34:20But not all.
34:22Only the parts I know.
34:24And the parts you don't?
34:26They frighten me a little.
34:28Fear can be a most intoxicating brew.
34:32Promise me something.
34:34What?
34:36You'll never tell my mother about this?
34:38Hey, Flint! Come here! Get a look at me!
34:42It surely had for this to end,
34:44but I think it's time we parted company.
34:46What?
34:48I'm still guessing about the alarm around the pension itself.
34:50If I'm wrong and it goes off,
34:52I'm gonna need you and another wing to create a diversion.
34:54But don't you want any help to get around it or something?
34:56I suspect it's some sort of heat-sensitive device.
34:58In which case, uh,
35:00two warm bodies would only set it off that much faster.
35:02I really think we should stay together.
35:04You almost sound as if you didn't trust me.
35:12No, sir.
35:14Now, look, I-I-I have not been drinking.
35:16Now, the other guys can verify that.
35:18Right?
35:22Right?
35:28Hello again, my lovelies.
35:32Hello.
35:48Do try and be gentle with me this time.
36:02Come on.
36:18Cover up, ladies.
36:20You're liable to catch a chill.
36:22Come on.
36:30That was always a cut above the rest, don't you think?
36:48Uh, no, sir, I, uh,
36:50I didn't turn off the alarm.
36:56Come on, you guys.
36:58Get out there!
37:00Now, spread out, will you?
37:12Hey, wait!
37:16Quick, we got the painting. Follow them.
37:18Hurry.
37:24Well, well,
37:26we caught one.
37:28Go turn off the alarm.
37:30Come on, baby.
37:32I've got somebody who wants to listen to that story, too.
37:34Hey, you, go check the grounds.
37:36There might be another one.
37:38Hey, get going!
37:40Come on.
37:46Thank you for posting the bail.
37:48I fed your fish, and your refrigerator was half full,
37:50so I picked up some things at the supermarket.
37:52There were some messages on your machine.
37:54Mother, I just spent the night in jail.
37:56That would have been all right in the 60s.
37:58Everyone's children went to jail in the 60s.
38:00My timing is lousy!
38:02Are you all right?
38:04I mean, I have read about women in prison.
38:06Laura?
38:08Sorry I didn't get here any sooner,
38:10but I spent the night looking for somebody.
38:12Hello, Murphy.
38:14Hello, Mrs. Holt. Are you all right?
38:16I think so.
38:18This someone you're looking for, you don't mean...
38:20I told you it was gonna happen. He set us up.
38:22Who? Maybe...
38:24Maybe? No, he's gone, Laura. How much more do you need?
38:26There might still be a good explanation.
38:28For what?
38:30What are you protecting him for?
38:32I'm only thinking of the agency.
38:34So you keep telling me
38:36just exactly what went on in there last night.
38:38You know about women in prison, too, don't you?
38:40Mrs. Holt, since midnight,
38:42I have been trying without success to reach Mr. Steele.
38:44You, on the other hand, are painfully easy to locate.
38:47Mr. Coxworth, I assure you,
38:49there's a good... a very good explanation.
38:51Explanation? My curator has been murdered,
38:53a painting worth several million dollars has disappeared,
38:56and the exhibit around it is set to open in a few hours.
38:59I assure you, the agency is doing everything in its power.
39:02Power? You and that agency, Miss Holt,
39:04are in no position to assure anything.
39:06What your actions lack in competence,
39:08they may yet make up for by being criminal.
39:10I beg your pardon. No, Mrs. Holt.
39:12How dare you talk to her like that?
39:14I mean, Laura may have her faults, but she's not incompetent,
39:16and she is certainly not a criminal.
39:18Who is this woman?
39:20She's an intelligent and capable young woman,
39:22and whatever your problems may be, they give you no call to slander her.
39:24Mother! There are laws against that, you know.
39:26Mother, please!
39:28Mr. Coxworth, you hired Remington Steele
39:30because of his impeccable reputation.
39:32That was before I knew he took on relatives.
39:34I still suggest you should reserve judgment
39:37until Mr. Steele personally can present us with all the facts.
39:41Never mind who this is.
39:43If the department's interested in finding Kalil's murderer,
39:47you'll proceed at once to the address I gave you.
39:49His name is Gutman,
39:51and his car is a silver four-door of the German persuasion.
39:55In it, you'll find some of Kalil's personal effects,
39:58if not the murder weapon itself.
40:17Funny. I could have sworn this was my car.
40:22Oh, well, my mistake.
40:25Well, Mr. Steele...
40:28When dealing with the five nudes of Cairo,
40:30one can't be too careful.
40:32So I've gathered.
40:34You called and promised me the painting,
40:36but it doesn't seem to be in your apartment.
40:40Let's all go someplace quiet.
40:42You don't mind driving, do you?
40:44I prefer to walk, actually.
40:47But I'm flexible.
40:50Fasten your seatbelts, please.
40:53I mean, do you have any idea
40:55what Mr. Steele might say if he hears about this?
40:57Nothing. Not on this end.
40:59Murphy's still out looking? Uh-huh.
41:01I put some fresh clothes in your office.
41:03I'll go back to his apartment and check.
41:05There's someone here from the museum to see you.
41:07Oh, not another one.
41:09Now, Elora, if it's from the museum...
41:11Mother, please, please.
41:13Look, call in every hour, no matter what, all right?
41:15If we don't find him, that's it for us, isn't it?
41:18You really think he's gone for good, too?
41:20Hey, me, I'm not worried about.
41:23All I'll lose is a job.
41:34Miss Simone?
41:37Or should I say Felicia?
41:39Well, then, I guess he's told you everything.
41:42Well, not exactly everything.
41:45You know, I came here looking for a blue-ribbon cat fight,
41:49but now there hardly seems much point
41:51in all that scratching and spitting.
41:53I only tried the blackmail gambit
41:55because I needed his help so badly.
41:57To steal the painting?
41:59It was the only way to get Gutman off my back.
42:02The truth is, I never would have exposed him.
42:05You mean as Michael O'Leary?
42:07Oh, that's not his real name.
42:10You know what it is?
42:12I doubt there's anyone who knows that,
42:14but if across some satin pillow he should tell you,
42:17I'll expect a telegram.
42:19Is that much you can let me have?
42:21I don't think you understand. Ours is clear.
42:23Oh, I understand, all right.
42:25He stood me up to steal the painting with you.
42:30It's strange.
42:32He never struck me as his type.
42:36Me neither.
42:40Hello?
42:41Miss Wolfe?
42:42No, she stepped out. Can I help you?
42:44Abigail? Is that you?
42:46Ah, Mr. Steele.
42:47Abigail, is Laura there?
42:48No, she's in a meeting.
42:50Interrupt her. It's important that I speak to her right away.
42:52The painting.
42:53If it's about her being in jail last night, Mr. Steele,
42:56I just want you to know that nothing like this has ever happened before,
42:59and whatever went wrong, I know that she meant well.
43:03It's been a very difficult evening,
43:05and I just don't want you to be upset with her.
43:07I'm not upset with her, Abigail. It's about the painting.
43:10I'll buzz her.
43:11Do you know which button to push?
43:13No, I'm afraid I don't.
43:14I don't mean to rush you, Abigail,
43:16but if you...
43:17Tell her to break into 7249 Hemet Street.
43:19Did you say something, Mr. Steele?
43:21Would you just hold on, and I'll go get her for you.
43:24Abigail, tell Laura to watch out.
43:26You've already been clever enough for one day, Steele,
43:29or are you in a rush to join Ahmed Khalil?
43:33He rubbed you the wrong way, did he?
43:35He discovered Felicia had lied about her past to become his assistant.
43:38He was going to report it to the authorities.
43:41We couldn't let him do that.
43:44Do you suppose we could continue this conversation with me the right side up?
43:517249?
43:53What the hell is he doing here?
44:08Are you sure this is where he said to meet him?
44:10Not completely.
44:12My mother wasn't sure she heard it clearly.
44:14Oh, I think it's really sweet asking your mother to work with you like that.
44:18I could never do it.
44:25Oh, my gosh!
44:28What happened?
44:29What happened?
44:31Oh, Laura, Felicia.
44:32We thought for a moment you were...
44:34Just resting, actually.
44:36So glad you could join us, ladies.
44:39You brought the others with you, I trust.
44:43Oh, hello, Laura.
44:46No, they're not back yet.
44:49Did you find him all right?
44:51All right.
44:53I'll go look.
45:13Ah.
45:15Ah, yes, dear.
45:17I found it.
45:19What should I do now?
45:21You know, I'll miss you feeding me strawberries on the Riviera,
45:24the wild drives with the top down along the Autobahn.
45:28He's shown you the mastery of his Tibetan massage, hasn't he?
45:32Not recently.
45:34There's no point trying to make Miss Holt jealous, Felicia.
45:37Ours is a purely professional relationship.
45:40She tried to tell me the same thing.
45:42A necessary posture for clients, I suppose.
45:45Well, assuming we all walk away from this,
45:48I'll keep your little secret to myself.
45:50Laura, are you there?
45:52Mother, don't come any further!
45:54Just leave the painting and leave!
45:56What, dear?
45:59Don't let go of me!
46:01I beg your pardon!
46:06Oh, Mother!
46:08I'm so sorry you had to get dragged into this.
46:11Laura, that man,
46:13he was at Mr. Steele's apartment.
46:15He's the one I moved the car for.
46:17Your foolishness has exhausted my patience, Steele.
46:20You didn't like the painting?
46:22Obviously, I'll have to kill again to get it.
46:27Sherman, take your pick.
46:31Mother?
46:33Mother!
46:35You don't expect us to fall for that twice.
46:38But she's not faking! She needs her inhaler!
46:41Oh!
46:44No one moves.
46:46I want that painting.
46:48Whatever.
46:52Hey!
46:56I wouldn't resist further, gentlemen.
46:58Felicia's a rather good shot.
47:06Oh, Mother, I'm so sorry!
47:08I'm so sorry! I'm sorry!
47:10Oh, don't be.
47:12Don't be, darling.
47:14It's all right.
47:16I mean, now I know what you really do.
47:19Miss Holt doesn't have it, and neither do you.
47:22Where is the painting?
47:24In the museum.
47:26Where it belongs, of course.
47:36Quickly, get it into its frame.
47:38There's still a chance we can make the opening.
47:41But I don't understand.
47:43If you knew where the painting was, why didn't you say something?
47:46Too risky.
47:48Gottman had to believe the picture was now possession,
47:50or else he would never have come forward.
47:52For you to capture him?
47:54Actually, Miss Holt is responsible for that.
47:56I was indisposed at the time.
47:58Well, either way, I must apologize
48:00for being so hard on you at the police station.
48:03Now, if you'll excuse me,
48:05there are several million things to be done.
48:09I'm afraid I've been a bit hard on someone myself.
48:12Nonsense. Your mother's a strong woman.
48:14She'll get over it.
48:17But you could have kept the painting and disappeared.
48:20What made you decide to leave it in the museum?
48:23You're not serious.
48:25I don't want the five nudes of Cairo.
48:27The picture's got a bloody curse on it.
48:33© BF-WATCH TV 2021
49:03© BF-WATCH TV 2021