All language subtitles for supercar s01e14 1080p bluray x264-carved (1)_track3_[eng]

(Supercar whirring)

¢ Supercar f

¢ Supercar f

~ With beauty and grace I

f As swift as can be f

£ Watch it flying through the air S

¢ It travels in space f

J Or under the sea I

f And it can journey anywhere J

¢ Supercar f

¢ Supercar f

~ It travels on land f

~ Or roams the skies

~ Through the heavens' stormy rage I

f It's Mercury-manned J

¢ And everyone cries S

f It's the marvel of the age I

¢ Supercar f

¢ Supercar f

¢ Supercar f

(Supercar booming)

(piano music)

- Seven.

Eight.

10, 12.

$1300.

And all for the sale of a bunch
of vulgar modern paintings

that pass as art.

- Value, zero.

- For a genuine Harry S. Kleinsworthy III?

My dear sir.

- Ah, knock it off, Steindorf.

The only thing you know about art

is scrawling on subway posters.

- Jody.

Jody Mettern.

- In person.

Well, that's a nice little
racket you got here.

- But, Jody, what a surprise.

| thought you were-
- You thought | was still

in the state pen.

Yeah, but all good things
come to an end, you know?

And here | am, buying pictures.

- | didn't know you liked pictures, Jody.

- Well, so, now you know.

| got converted, see,
by your friend and mine,

the late Bart Hassler.

- Hassler?

- Quite an artist, wasn't he,

when it came to painting dollar bills.

And before he passed away in the pen,

he told me where | could
find the model he used.

- But he only painted landscapes.

As a matter of fact, | just sold one.

Called "Mexican Plain".

- You sold "Mexican Plain"?

- Yes.

It surprised me too,
finding someone fool enough

to buy such worthless trash.

- How could you be fool enough to sell?

- But, Jody, I-

- That painting of a certain Mexican plain

showed the exact spot where Hassler

buried the counterfeit plates.

- Oh no.

- | tell you, yeah.

Now, quick, who bought it?

- A Dr. H. Beaker of Black Rock.

Will he let us have it, do you suppose?

- He'd better, or we may
have to play it another way.

- Beginning to look a bit
shabby, isn't she, Professor?

- Gee, | don't see
anything wrong, Professor.

- It's not so bad as to be
obvious, Jimmy, but as Mike says,

the gloss is fading.

- We'll have to do something
about it, Professor.

Can't keep giving her a
facelift every other week.

Suppose there's an emergency

and here we are waiting
for the paint to dry.

- | wonder.

Since the fading is due
to excessive exposure

to the rays of the sun,

perhaps we should try a filter varnish.

- How would that help, Professor?

- Well, by cutting out
most of the ultraviolet-

- [Dr. Beaker] | say, Professor and Mike.

- Yes, Dr. Beaker?

- [Dr. Beaker] Can you spare a minute?

| have something remarkable
here in the way of a painting.

- Trust Doc.

He's been working on our problem

before we even knew we had one.

- We'll be right there, Doctor.

(whimsical music)

- Well now, seriously,
what do you think of it?

(Mitch whooping)

| beg your pardon?

(Mitch whooping)

Oh, come now.

You're just saying that.

You need to consider it as a whole.

Take another look, my dear chap.

Does it not strike you as a fulfilment?

(Mitch whooping)

Oh, | must say, Mitch, |
am disappointed in you.

Obviously, you know nothing about art.

Mitch, Mitch, oh, bless my soul.

He's gone.

- He just lit off after Jimmy.

Have you been scaring him
with your experiments, Doc?

- No.

Just my painting.

- This?

This is your painting?

- Certainly.

- Well now, and | quote, who's a fool?

Looks like we were building
our hopes too high, Professor.

- But, wait, stop.

Where are you off to?

- Sorry, Doc, we got a job to do.

- Without even looking at my picture?

And it's a genuine...

Where is the signature now?

Oh yes.

Genuine Hassler.

- Very nice.

- A Hassler, uh-huh, so?

- But have you no soul?

Can you not spare the time to stand there

and inhale its beauty?

- Oh, I've inhaled okay.

And | think it stinks.

- All right, scoff if you like.

But here in this antiseptic
and mechanical atmosphere,

| intend to keep alight
the beacon of culture.

- Good for you, Doc.

But meanwhile, we've got
some serious painting to do.

- Serious?

I'll say it's serious.

The hours | sat in my cell
just waiting for the day

| could get out and lay
my hands on that picture.

And what do | find?

You sold it.

- But you don't appreciate the temptation.

Someone with money to spend
and no knowledge of art?

(Steindorf laughing)

It's a dream come true.

- Well, suppose you quit dreaming

and think up how we can
get that Hassler back.

- Of course.

I'm just waiting for-
(beeper buzzing)

Ah.

Steindorf Art Galleries.

Steindorf speaks.

- [Switchboard Operator]
The number you require

is Black Rock one.

- One?

Are you sure?

- [Switchboard Operator]
Repeat, Black Rock one.

That is the only subscriber in the area.

- Very well.

Thank you.

- Maybe he's a hermit or something.

Anyway, if he lives on his lonesome,

it'll be chickenfeed to go
out there and grab it off him.

- You mean steal it?

- Now, is that screwed right down, Jimmy?

It has to be absolutely airtight.

- | think it's okay, Professor.

- Then, let's proceed to test.

Ready to switch on, Mike.

- Switching on now.

Charging nicely.

Are we ready to fire?

- | beg your pardon, Mike?

- Well, you seem to be running it

like a serious scientific test.

- All right, then, firing one now.

(paint hissing)

Fine.

It works.

- As Doc would say, satisfactory.

Most satisfactory.

(Rudolph laughing)

- Well, | think we are ready
to have a go at Supercar.

It will be a slow job, I'm afraid,

because we have to be sure
of covering every inch

of the paintwork.

(phone ringing)

- There's the phone, Professor.

- What, what, what, was it?

Where?

- It's okay.

It was Dr. Beaker's phone.

And don't point that thing at me,

Professor, it might go off.

(Rudolph laughing)

- Now, let me get this
straight, Mr. Steindorf.

First, you tell me the
painting is worth four times

what | paid you for it.

And now, you telephone to
say you've made a mistake.

- But you see, | thought
it was a genuine Hassler.

And now, | find that it is a fake.

A mere copy.

- Is he swallowing it?

- | think so.

You paid 90 for it.

| will offer you, to cover
your expenses, say 110?

120?

- | fear you're wasting
your time, Mr. Steindorf.

Yes, possibly, it is a fake.

But it must be a very good fake

or it would not command
the price you are asking.

Who knows, in time, it may be worth more

than a genuine Hassler.

May it not?

(paint hissing)

- How's it coming along, Mike?

- Okay, Professor.

I've almost finished this side.

- The level in the jar is right down.

Will you fetch another from
the outside lab, Jimmy?

- Okay, Professor.

- There's one prepared on
the bench inside the door.

- That's it, Professor.

We're running dry.

And since we are taking a breather,

what do you say we go see

what the great art critic is up to?

- Yes.

Now, the question we ask ourselves is why.

Why is Mr. Steindorf so anxious

to regain possession of this landscape?

| wonder.

Could it really be an old master?

An early Van Gogh, perhaps?

- Oh, | don't think so,
because stencilled on the back

of the canvas here quite
clearly is inscription

supplied by Venerborn
and Sons, Chicago, 1929.

- Must've got around a bit, this Van Gogh,

both in time and space.

(Mitch whooping)

- Well, it may seem humorous,
but it is also curious.

Actually, most curious.

Steindorf must have some
reason for wanting the picture.

(Rudolph chuckling)

- Well, perhaps the canvas
has been used before.

Perhaps, your "Mexican
Plain" has been painted

over a Grandma Moses.

- Of course.

Why didn't | think of that before?

- Oh come on, Doc.

Grandma Moses wasn't painting in 1929.

- Nevertheless, the professor
has given me an idea.

There may indeed be another
painting beneath this one.

And if so, with the aid of a
little infrared investigation,

we shall discover it.

Now, where did | put my
photographic equipment?

- Might as well leave
it to him, Professor.

You know what the doc's
like when he gets an idea.

- So much for your big idea.

Where did it get us?

- Well, how was | to know
he'd turn down more than $100?

- Yeah, but that's just the point.

Your offer scared him off.

Anyway, you Can save your dough,

because we're gonna get it for nothing.

- You don't still mean to steal it.

- You got a better idea?

- Are you sure you can do it?

- With you along to identify it, yeah.

- Me?

But, Jody, I-

- I've never seen the thing, remember?

And I'd hate to grab a painting
of Miami Beach instead.

Don't fluff.

It'll be a cinch.

- This is not going to be easy.

Makeshift apparatus.

(Mitch whooping)

Infrared plate in camera.

Floodlighting satisfactory.

Developer.

Fixer.

Are we ready, then?

(Mitch whooping)

In which case, take one.

(camera clicking)

(Dr. Beaker gasping)

Very satisfactory.

Most, most satisfactory.

- [Mike] Hey, Doc, do
you mind if | switch on-

- No, no.

Please, on no account.

Just a minute.

Ah, now then, what is it, Mike?

- Nothing special.

Just wondered how you were getting on.

- But | thought you weren't interested.

- That was before you
borrowed the spray gun.

- Oh, my dear fellow, | quite forgot.

You shall have it back almost immediately.

| merely wanted it to spray
a solvent over the canvas.

- What for?

- Why, to dissolve away
the top layer of paint

and reveal what is undoubtedly
a masterpiece beneath.

We spray a thin, even
solution over the whole area,

and in the morning, you'll see.

It'll be quite gone.

(paint hissing)

(ominous music)

- Man, is that the baby we're after?

- Yes.

Now, quick, take it and
let's get out of here.

Please.

Before someone wakes.

(canvas ripping)

(whimsical music)

- In the morning, you'll
see, the man said.

So, what do we see?

- Curious.

Most curious.

- It'll be quite gone, the man said.

And he was right too.

Mighty good solvent of yours, Doc.

| thought just the top layer
was supposed to disappear.

Poor old Doc, all that's
left of his art collection.

- But why, Mike?

Why should anyone want to
steal a picture like that?

- Don't know, Professor,
but it was certainly stolen.

You can see where a
knife has cut the canvas.

- Steindorf doesn't reply.

A pity.

| thought that, perhaps,
he might've thrown a light

on this business.

- Maybe he did the stealing.

- Oh, really, Mike.

Steindorf was hardly the kind

of person to indulge in a felony.

- Well, maybe.

Maybe not.

The only thing is it must've
been kind of important

if he went to the trouble of stealing it.

It must've been something
else about that picture.

Something about that
landscape and those mountains.

I'll swear I've seen them before.

(ominous music)

- Oh.

Jody, please.

Can we not rest a moment?

| have not had a moment of relaxation

since we caught the plane at
four o'clock this morning.

- You can rest when we get there.

Hey, wait a minute.

Aren't those the mountains?

- [Steindorf] Mountains?

Oh, yes.

Those are mountains.

- | can see that, you fool,
but are they the mountains?

The ones we're looking for?

- Oh, | hope so.

Indeed, | hope so.

- But are you sure you can
find these mountains, Mike?

- | think so, Jimmy.

That's a pretty distinctive shape.

And | know I've flown over
it before at some time.

All | have to do is go
through all the flight plans

that cover every trip
we've made in the Supercar.

Maybe they'll find what's going on

if | can find where it's going on.

- Hassler.

Bart Hassler.

Yes.

An artist.

A forger?

Is that the only one you know of?

Oh.

Curious.

Most curious.

But then, | suppose a forger is an artist

in his own peculiar way.

- A forger, of course, Doctor.

Hassler, | remember.

It was in the papers just

after | came to this country in 1929.

- Really?

My colleague appears to
be familiar with the case.

Yes.

Thank you for the information.

Yes, yes.

Nice talking to you.

- And they never found the plates he used.

| wonder, Beaker, do you suppose

that's what Steindorf is after?

- Hey, Doc, Professor, I've got it.

- What, Mike?

- Those mountains.

Looks like the Sleeper Range some 20 miles

across the Mexican border.

We flew over them on that Amazon trip.

- Ah, yes.

| remember.

A curious formation resembling the figure

of a recumbent man.

Hence the name Sleeper.

- | remember too, Doctor.

| remember it was around
the Mexican border

that Hassler was caught in 1929.

He must have buried the plates there.

- But where, exactly?

(ominous music)

- Yeah.

This must be the place.

- Oh, thank heaven.

- Not that I've seen it before,

but somehow, it's just
as Hassler described it.

- Then, we start digging?

- Well, first, let's see the picture.

We gotta know where to dig.

- Well now, the situation
as | see it, gentlemen.

(Mitch whooping)

- Hush, Mitch.

- | beg your pardon.

Gentleman and Mitch.

The situation is this.

Here, we have a sandy desert,

purported to resemble this picture here.

Now, having a mind that
March the 5th, 1929 was,

according to the professor,
the date of Hassler's capture

not far from this spot,

and that this is the only legible date

falling from the calendar here,

we deduce that this picture
holds the answer to the riddle.

- So, what is the answer?

- Well, | suggest the best plan

is to visit the scene of the crime.

We are sure to find some kind of pointer.

(dramatic music)

- You see?

That cactus on the left of the picture.

That's the pointer.

- | see.

Do we dig beneath it?

- Oh, no, that would be too easy.

Hassler reckoned the cops might
be smart enough to do that.

So, he used the shadow.

- The shadow?
- Yeah.

Now, look.

It falls across the sand there,
shaped like a pointing arm.

And at the time shown on that watch face,

25 after one, the shadow
hand shows us where to dig.

- Ingenious.

- Yeah, Hassler was no fool.

So, get moving, huh?

I'll weigh the canvas down

with sand so it doesn't blow away.

And you go take a look
around for that cactus.

- What, me?

By myself?

- Division of labour, pal.

I'm saving my strength for the digging.

- Let me see, now.

They'll be digging there presumably

at the hour shown in the
picture, namely 1325 hours.

- Yeah, and it's gone 12 already.

Climb aboard, Doc, and
we'll be on our way.

- Good luck, Dr. Beaker.

(Mitch whooping)

- Ready when you are, Mike.

- [Mike] Hold it.

Doc's just coming aboard.

Steady there.

Okay, Professor, all set.

- Charging port, then.

(Supercar whirring)

- Five.

Seven.

Nine.

12,000.

14,000.

15,000.

- All right, interlock on.

Charge starboard.

- Six.

Eight.

11.

13.

14.

15,000, Professor.

- Interlock on.

Fire one.

(thrusters booming)

- Fire two.

(thrusters booming)

Firing steadily, Professor.

(majestic music)

- All right, Mike, doors
open, and she's all yours.

- Selecting vertical takeoff now.

(Supercar whirring)

(soft music)

(Steindorf grunting)

- Jody.

Jody.

- You found it?

- Well, no.

I've been right around in a circle.

And the cactus just isn't there.

- What?

- Perhaps it died.

30 years is a long time.

- Don't give me that jazz.

It must be here someplace.

- Pilot to Console, Pilot to Console.

Do you have our position?

| reckon we're about 90
miles north of the border.

- Console to Pilot,
92.3 to be exact, Mike.

And if we keep going according
to the last flight plan,

you should hit the spot
with some accuracy.

(Supercar whirring)

- Ooh, that was a nasty turn piloted.

In fact, it gave me a nasty turn too.

- Sorry, Doc, but we gotta make time

if we're gonna beat
Steindorf to the plates.

- Oh, | hardly think you need
worry unduly about Steindorf.

It just occurs to me that he
can't possibly find the plates.

- What do you mean, Beaker?

- He's got the canvas, hasn't he?

- The canvas, yes, but not
necessarily the picture.

- For Pete's sake, if you're so dumb

you can't find it with your own eyes,

then maybe the picture will
tell us where the cactus is.

Clean off the sand and let's take a look.

- Of course, Jody.

Right away.

(drum rolling)

No.

Oh no.

| don't believe it.

- And so, | imagine Mr.
Steindorf has found,

somewhat to his chagrin, the
effectiveness of my solvent.

- Well, we'll soon know.

Time to lose a little
altitude | think, Professor.

- Roger, Pilot.

(Supercar whirring)

- Well, isn't that just dandy?

First, no cactus, and now, no picture.

- Well, really, it's not my fault.

- Of course it's your fault.

If you hadn't unloaded
it on that doctor guy,

we'd still have it and the plates.

- Why, couldn't we just
go ahead and dig anyway?

- Dig up a whole desert?

If that's the way you want it, you stay.

Me, I'm hitting the trail for home.

- Oh.

You.

Why couldn't you have been a plain,

ordinary, fake Rembrandt?

(whimsical music)

- Console to Pilot, your
altitude is now 4,000.

If you come down another 450,
you'll be the same height

as the Sleeper Range.

- Okay, Professor.

Hang on, Doc.

Here we go.

(Supercar whirring)

- Wait a moment.

There's a range over there.

About seven, eight miles off.

- [Mike] That's it.

Cutting to half-boost.

- If | were you, | would come in

from a slight southwesterly direction.

That will, if | may coin a
phrase, put us in the picture.

(Supercar whirring)

- [Mike] Well, it looks like
the birds have flown, Doc.

- True.

But without that which they came to seek.

Could we find it, do you suppose?

- Like how, for instance?

- Well, having deduced during
the course of our journey

the meaning of the shadow
at the precise time,

all we have to do is to simulate a cactus.

- What?

- Simple, my dear fellow.

Let me scrawl a few calculations

like the illustrious
Archimedes on the sand.

Yes.

If the length of the mountain shadow

is in proportionate to the...

(whimsical music)

Ah.

Satisfactory.

Most satisfactory.

The cactus would have been
about your height, Mike.

So, if you would kindly stand over there

with your arms just so.

- The things | do for you, Doc.

(drum rolling)

(bell music)

(heroic music)

- Are these really
counterfeit plates, Professor?

What are we gonna do with 'em?

- Well, | think the Treasury Department

would be interested in
them, just as the police

will be interested in Mr. Steindorf.

- Yeah, | don't suppose he'll
be in the painting business

for awhile.

Will you be sorry, Doc?

- Not at all.

As a matter of fact, having
observed that photographs

are somewhat more durable than paintings,

| am thinking of giving up art altogether.

- Oh, hey, don't do that, Doc.

| commissioned a painting
especially for you.

- Oh, really?

What kind of painting?

(whimsical music)

(static hissing)

(Mitch whooping)

(Supercar whirring)

¢ Supercar f

¢ Supercar f

~ With beauty and grace I

f As swift as can be f

£ Watch it flying through the air S

¢ It travels in space f

J Or under the sea I

f And it can journey anywhere J

¢ Supercar f

¢ Supercar f

~ It travels on land f

~ Or roams the skies

~ Through the heavens' stormy rage I

f It's Mercury-manned J

¢ And everyone cries S

f It's the marvel of the age I

¢ Supercar f

¢ Supercar f

¢ Supercar f

(Supercar booming)