All language subtitles for McMillan . Wife - S02E06 - The Fine Art of Staying Alive.en

It's beautiful.

Sally,

would you mind stepping
up here a moment?

Could you help us with
that, Officer? Thank you.

Oh, come on now,
you don't mind

posing with me for
a few pictures?

Well, it's not
really very fair.

I am the newest
member of the board.

And the prettiest.

Surely,

aesthetic reasoning should
govern the world of art.

I like the way you talk.

Oh,

Señor Feliciano,
Commissioner Stuart McMillan.

- How do you do, sir?
- How do you do?

Mrs. McMillan?

We're ready with
the tape now.

Oh, excuse me a moment.

Well, I hope it's
correct this time.

I was so embarrassed
at that last exhibit.

I want to thank you again
for coming to my defense.

Anybody can make a mistake.

But a lecture on cubism
in a whole room

full of British 19th-century
landscapes?

You're the gentleman who brought the
painting from the Prado, aren't you?

At great cost to my
nervous system, yes.

Nor shall I rest easily until it is
safely returned to it, brother.

Well, perhaps an explanation
of our security system

would benefit your
nervous system.

It would indeed.

You see, we have reports
saying, that an international

syndicate will attempt
to steal the painting.

All the doors and windows are
attached to the burglar alarm system,

as is this painting.

And right, I'm gonna
trigger the alarm.

You see?

Okay, I'm gonna turn it off.

Well,

you were the only
one who thought

anybody could make
that kind of mistake.

Well, listen, the bad thing was
that nobody on the tour noticed it.

It wasn't reported
for two months.

Oh,

well, try again.

Here, wait just one second.

Oh, Mac, I'm gonna
take the tour now.

Okay, I'll call you
later from the office.

Oh, I won't be home. I'm going to be
working with the children all afternoon.

- See you at dinner.
- Bye, bye.

- Nice to meet you.
- Nice meeting you.

Bye, Sally.

It's all set.

- Oh, thank you.
- Good luck.

Now, where is it?

- It starts right there.
- Okay.

Welcome to the San
Francisco Art Museum's

17th annual spring exhibit.

If you will kindly move
down the corridor.

Charlie?

Señor Feliciano, this
is Sergeant Enright.

How do you do?

He's in charge of our personnel
assigned to the museum.

I suppose, Sergeant, you will also
tell me that my worries are useless.

Yes, sir.

We begin our tour there.

Gallery A features a collection
of early Italian masters...

You will notice the
door on your left.

This leads to Gallery
B and the collection of

Venetian paintings unrivaled
in the United States.

And two men here
and here, sir.

And that should
certainly do it.

Mm-hmm.

What about the
closed-circuit TV cameras?

They'll be monitored right
here at headquarters, sir.

Any chance of someone
stealing another masterpiece

while we're so busy
guarding the Rembrandt?

Negative, sir.

We've got everything in this
museum under surveillance.

And so many men guarding it,

I'm not sure there's going to
be any room for the public.

We could hold off an
armed invasion, sir.

Okay.

Let's get a copy of this over
the Spanish consulate.

See if it brings a real smile
to Señor Feliciano's face.

And while we're at it,

I want you to go over the wiring
details with me one more time.

See if you can bring
a smile to my face.

Think she's all right?

She groans like she is.

- Feel that, lady?
- Mm-hmm.

That's a gun.

We're gonna take
your gag out now.

You make a noise and the
gun goes off, you got it?

Mm-hmm.

- You all right?
- Gee, it's nice of you to ask.

Of course I'm not all right.

You want some water?

A little thing for
starters, thank you.

Here.

Thank you.

She's just real
polite, isn't she?

Oh, you like that approach?

Then maybe I
should ask you...

Would you let me go, please?

Oh, that's cute.

But no go.

Well, then could you take off
this blindfold? It's too tight.

It's stopping
the circulation.

And you're supposed to be a
police commissioner's wife?

Do you know what'll have to happen
to you if you get a look at us?

You know, this blindfold's not
really that uncomfortable.

Put the gag back in her mouth
while I call her husband.

Thank you.

Yes?

There's a call for
you on one, sir.

He refuses to identify
himself, but insists on talking.

Says it's about
Mrs. McMillan.

Okay.

Yes?

Hello, Commissioner.

Do you have any idea where
your wife is right now?

Yes. Who is this?

Oh, so you know
where she is, huh?

You better check on that.

And be home at 2:00 pm

And we'll tell you
where she is.

Who is this?

June.

Call my wife at the deaf
center for children.

Enright, you better
get in here right away.

Yes, Commissioner.

We found a tour guide tape

in a wastebasket with
Mrs. McMillan's fingerprints on it.

And you know what was
missing from the place?

An oversized laundry bag.

Just one of your regular
oversized laundry bags?

Just one of your regular
oversized laundry bags, Mildred,

except Sally is inside.

Yes?

You located your
wife yet, Commissioner?

What do you want?

Well, you don't know
where she is, huh?

Well, guess who does?

If she's there, I'd
like to speak to her.

No.

Well, Commissioner,
you're all rattled.

I'm the one who's
giving the orders.

I'd like to talk to my wife.

Easy.

Easy. I'll let
you talk to her.

But I'm warning
you, Commissioner,

if you don't do like we want,

it'll be the last time
you talk to her.

Hi, darling.

Sally, you all right?

Fine.

I haven't been so nervous
since you proposed.

All for now, Commissioner.

All right. What do you want?

You'll be right there
in three hours.

We'll tell you then what
your assignment is.

How much are
they asking, sir?

They haven't

said yet.

Well, that's rather
strange, isn't it?

Usually, they tell you right
off so you can start raising it.

Trying to psych me out.

What would you say

Mrs. McMillan is worth?

I'd say she's priceless, sir.

And what else have
you seen today that's

priceless?

The Rembrandt.

They must figure the

Commissioner of Police
could be the only one

to get through maximum
security at the museum.

And they figure right.

Well, then give them
the Rembrandt.

It's not like they're asking
for the Mona Lisa.

I tried telling that
to the Prado.

But, sir,

if that's what they want,

and you don't
give it to them,

they might kill her.

Oh, Commissioner.

It's easy, Mildred.

We'll get her back.

Don't worry.

A phone recorder at
the Commissioner's house. That's right.

And stand by
for a trace at 5:00 p.m.

Hey, why don't you guys
have something to eat?

You can't just drink
coffee all the time.

- That would be great.
- Thanks, Mildred.

Commissioner.

Did Mrs. McMillan say
anything that might help

when she talked to you?

Yes, I'm sure she was
trying to give me a clue.

When I asked her if she
was all right, she said yes.

But that she hadn't been this
nervous since the day I proposed.

Now, why would she think of a
thing like that at a time like this?

That's all?

That's it.

It's not much, is it?

No, it isn't, but

I'm convinced she
was trying to say

something that would
help me locate her.

What did you propose to her?

A new delicatessen.

We were having breakfast.

I can't tell you how much
I'm enjoying all this.

Do you realize this is the first time
we've ever had a date for breakfast?

You know...

My grandmother
used to say that...

If you can propose
at breakfast,

you've picked the right girl.

Your grandmother was right.
That's a very good rule.

I wish I could have known her.

Sally, do you know
what I just did?

Pushed away your locks.

I proposed to you.

Proposed what?

To marry me.

Really?

Yeah, really.

Oh, Mac. That's really nice.

I'm so pleased.

Yes, so am I.

Well, I guess we should
begin making plans.

Plans for what? Can I have
some more coffee, please?

For getting married.
Remember?

Oh, Mac. You don't
want to marry me.

- Yes, I do.
- No, you don't.

You just barely proposed.

Besides,

you could have any
girl in San Francisco.

You probably already have.

When I think of all the girls, it would
just be wild to have you propose.

Are you saying you're
not one of them?

Of course I am.

Mac,

my grandmother
always used to say,

"Accept no proposals at breakfast."

"Or what do you do for
the rest of the day?"

She refused me.

Well, sir, I didn't
think it was likely

that she'd be stashed
in the back room here.

I mean, this looks like a
perfectly ordinary deli.

You know, Enright, I've
got to handle this right.

I... I could lose her.

Well, come on, Commissioner.
We've got work to do.

Good afternoon, Commissioner.

Sergeant.

You eat here, too?

No, we're here on
business, señor.

Oh, well, now that you've
discovered one of my witnesses,

Let me give you some advice.

Just try her pastrami.
It's absolutely great.

I happen to be
a pastrami connoisseur,

just as Mr. Pennington
is an art connoisseur.

And what's your specialty,
Commissioner? Don't tell me.

Law enforcement, I trust.

It's been a pleasure.
Good day.

You know, Commissioner,

maybe Mrs. McMillan meant the area,
not just the delicatessen itself.

I mean, take a look at that
warehouse across the street.

That'd be an ideal place
to hide somebody.

Sally's much too smart
to give that vague a clue.

I'll try anything.

Thank you, Sergeant.

It's always good
to have you along.

Won't you check,
gentlemen Charlie?

I was just trying to get
out of the sun for a while.

Do you own this
place or something?

Police.

You'd better put that
thing away, will you?

I've never done anything
wrong in my life.

In fact, I've never
done anything.

I'm a bum.

There's beauty in
that, too, you know.

Only right now, not too much.

I haven't eaten in two days.

All right, Sergeant,
book him.

Yes, sir.

And make sure they keep
him at least 24 hours

till he's had a couple
of good meals.

Hey, thanks, mister.

Commissioner?

If anyone at that museum knows
anything, they're not talking about it.

We question all personnel,
check the guide tapes,

and we searched that place
from the basement to the attic.

And all we came up with

was the tape that
sent Mrs. McMillan

to the maintenance room.

Which means we're
not getting anywhere.

Not yet, no, sir.

Now,

if you can keep them on that
phone for three minutes,

we've got 'em.

Even two minutes,

and we can pinpoint the area.

I thought Sergeant Wilson
usually handles this equipment.

Oh, uh, he does, but he's
on another assignment.

Last minute?

Mm-hmm.

Oh.

Well, it's just that I felt so
useless down at that office

with all those men and
all that equipment there,

and none of us are any nearer to
her than we were this morning.

That should be my
speech, Sergeant.

Or are you in love
with her, too?

Well...

you think I'd come over here
and tell you about it if I were?

Yes.

I think you would.

Ooh, those look fantastic.

What are they?

Chocolate meringue.

They're Mrs. McMillan's
favorite.

Save some for her in case she's
hungry when she gets home.

I thought you always said they
were a nuisance to make.

Did I say that?

Yeah.

Come on.

Excuse me.

Do you mind?

I don't know. What
are you doing?

Oh, well, I've been
promising Mrs. McMillan

that I'd get at these
spots for weeks.

First the rug,

and the drapes.

Start the trace.

Yes?

First off, Commissioner, don't
waste time with the trace.

We're gonna be off the
phone in a minute and a half.

All right.

I won't waste any
time with the trace.

Go on.

You've probably figured out
what we want by now, right?

Well, I have a
pretty good idea.

You want the Rembrandt.

Hey, I heard you were bright.

It's nice to have
it confirmed.

Be on the corner of Bush
and Polk at midnight,

with the painting,

and no tail,

and no bugging
devices, Commissioner.

Any slip up on your part,

and you will never see
Mrs. McMillan again.

Just a moment.

How do I know you'll release
her after I deliver the painting?

Well, Commissioner,
we want the painting,

not your wife.

And I also want to make sure she
isn't taken out of San Francisco.

Nice try, but

we're not about to
tell you where she is.

Either I get her back as soon as you
get the painting or the deal's off.

Okay.

She's in San Francisco.

But that's all we're
gonna tell you.

Prove it.

Let me talk to her.

I told you once,
this call's ending.

Then call back at 10:00 p.m.

and have Channel 12's newscast
playing in the background.

The station signal only
reaches San Francisco area.

That way I'll know
she's here and safe.

Now, look, Commissioner...

You look!

Either I talk to her
or the deal's off.

Okay, 10:00 p.m.

Channel 12 in the background.

And no tricks.

I'm warning you,
Commissioner.

No tricks.

And one more...

Any luck?

Nothing.

You're pushing them very
hard, Commissioner.

What choice do I have?

Where are you going?

To get the painting.

Well, high time. I was all ready
to go to the museum myself.

They won't get away with it.

We have to go on the
assumption they will.

Isn't there something
else they'll settle for?

Feel free to offer any
amount of money.

I'll back you, Mac.
You know that.

Well, thanks, Matthew, but
it isn't money they want.

They want the Rembrandt.

Well, if that's
it, that's it.

The first order of business is to get
the permission of the Spanish consul.

Thanks.

It won't be easy.

I can imagine Señor
Feliciano's reaction

when we tell him we want
to borrow his masterpiece.

Absolutely not.

Out of the question.

There's no choice.

A life is at stake.
My wife's.

That is highly
regrettable, of course.

And after you called, I was on
the telephone with my embassy.

It is simply not within my
power to give you the painting.

Well, if I may ask, just what are
the priorities of your government?

To protect the rights and
property of the citizens.

The Rembrandt is one of
our proudest possessions.

It is not mine to
give or to loan.

It belongs to all the people.

I don't see how you can equate
property with a human life.

I sympathize completely with your
concern over the safety of your wife, but

I urge you to look at this
matter from the larger view.

What larger view?

My wife is about to be killed.
There is no larger view for me.

Commissioner, try to consider

the precedent this would set.

If we agreed to surrender
the Rembrandt as ransom,

The demands that might follow could
literally lay siege to the art world.

All its treasures would be subject
to this kind of plundering.

We owe it not only to
ourselves, but to the world to...

take this kind of stand.

Señor Feliciano,

you're an eloquent spokesman
for your government's position,

but you're also a man,

and a woman's
life is in danger.

A beautiful young woman,

no painting's worth her life.

No painting's worth
any human life.

I've been a connoisseur
of art all my life.

If anybody knows the value
of a masterpiece, I do.

But I also know there's
no greater work of art

than a beautiful woman.

I must agree,

in spirit, of course.

But I cannot relinquish
the painting.

I'm deeply sorry.

All right.

I'll get Washington
on the phone.

I won't take no
for an answer.

As you wish, Commissioner.

But I can tell you,

your plight is hopeless.

Yes, Harry, that's right.

I am putting it on
a personal basis.

Mac, it's just not possible.

- Then make it possible.
- Mac, be reasonable.

Look, in the army,
I saved your life.

Now you save mine.

The timing's lousy, Mac. We're right in
the middle of negotiations with Spain...

I don't give a damn about your
negotiations. I want my wife back.

All right, Mac.

Don't make the call.

But I can't promise anything.

Thanks, Harry.
And don't hesitate to beg.

Commissioner?

I just wanted to report that
everything's been arranged

for that 10:00
p.m. phone call.

Thank you.

Well, I guess there's nothing else
that we can do until they call.

Are you all right, sir?

Well, I don't know.
I'm... I'm... fine.

I just keep...

going over what he
said in my mind.

It suddenly dawned on me that...

There was something
else besides his words.

- What was that, sir?
- Well, a noise.

In the background.

Pocketer, pocketer, pocketer,
pocketer, pocketer, pocketer.

Well, what kind of
an animal would make

- that kind of noise?
- No, it wasn't animals.

A motor of some kind.

Oh, uh, uh, tuc-tuc, tuc-tuc...

Pocketer, pocketer,
Pocketer, pocketer.

- Pocketer, pocketer, pocketer, pocketer, pocketer.
- Pocketer, pocketer, pocketer, pocketer, pocketer.

- Yeah.
- Pocketer, pocketer,

- A whashing machine.
- A whashing machine will...

Whoosh, whoosh, whoosh, whoosh, whoosh,
whoosh, whoosh, whoosh, whoosh, whoosh.

That doesn't exactly
narrow the field.

No, it doesn't.

There's got to be a clue
in what Sally said.

Well, sir, we've tried the...

delicatessen and the warehouse
across the street.

Yeah, but you see,
after Sally hedged,

on my proposal of breakfast,
I changed the setting.

I tried again at lunch.

This time, it was at the top of the mark.

Of course I love it.

I adore caviar.

Not to mention the ambiance.

You really know how to
handle a girl, don't you?

Well,

You've had so
much experience.

I've had none.

Are you sure you're not trying to
take advantage of my inexperience?

Of course I am.

That's why I'm asking
you to marry me.

Well, it sounds a lot better here
than it did at the delicatessen.

Well, is that a yes or a no?

I loved breakfast.

I'm adoring lunch.

What are you
doing for dinner?

Sorry, but I have to work.

You do?

Yeah, I have a brief,
too, in the morning.

I'll be in my office
most of the evening.

The Carson case?

Your hunch was right.

It is an embezzler,
except it isn't Carson.

Do you mean to say,
Mac, that I was really

able to help you on
one of your cases?

Well, more than I plan
to admit, in public.

Does that answer
your question?

Which question?

Why I want to marry you?

For my brains?

Oh, Mac.

Sally,

I love you.

Look.

I love you.

I wish I could believe that.

I do want to, you know.

We want to search
every room in the hotel.

Every room?

And every closet

in every room.

I'll get the manager
to accompany you.

Commissioner,

if we don't find
Mrs. McMillan here.

If we don't find her here,

we'll check every hotel
in San Francisco.

It's the only clue we have.

A hotel.

Yes, sir.

You think we're wasting
our time, don't you?

Yes, sir.

That concludes this
evening's film classic.

Stay tuned for the news,
which follows immediately.

Good evening, folks.

Got some real thoroughbreds out
here in the corral for you tonight.

You come on over,

you're gonna go home with
a couple of hundred horses,

I guarantee it.

We'll make you a deal so good,
you'll want to last it with yourself.

If you don't, my brother,

I'll tie the knot myself and hang it from
the highest tree in Northern California.

Come on over this way, folks.

This here is my
sales manager.

Now, if you can't
outsmart this old boy

and get the best deal in town,

why, you ain't even trying.

Now, just say hello, you got that?

How can I just say hello?
What if he asks me questions?

Don't answer them. I
just told you that, lady.

Well, what if he asked
me what I had for dinner?

He's sure to ask me that.

Hey, lady, you want to
live after that phone call?

Why can't I just say hello?

Hurry up and dial.
The news is coming.

Oh, a little more to the right now.

- Yeah, I'm fine.
- Hold it.

Use that line over here.

Just a minute.

Your home phone's ringing now,
sir. They're switching it over here.

It's there on line
one, Commissioner.

Yes?

Commissioner, we
got your wife here,

and the TV's on channel 12.

Now, remember,

just hello.

Hello.

Sally, are you all right?

Hello.

- What?
- Good evening,

and welcome to channel
12, 6 p.m. news.

6 p.m. news?

You recorded the 6 p.m. news
to play behind her voice.

What kind of a trick is that?

It's not a trick. The
station made a mistake.

Ask your wife.

She's probably not even alive.

You have her on tape saying
yes or no to any question I ask.

The deal's off.

- Was set?
- Yes.

Good evening, channel 12.

Hey, don't you guys even
know what time it is?

If it's 6 p.m., I've
been drinking.

It is 2 p.m.

Hey, not a bad idea.

Thank you very
much for calling.

It was our error.

Sorry.

Good evening, channel 12.

I hope your news is more
accurate than your clocks.

Our error. Sorry.

Good evening, channel 12.

What's the idea of calling the 10
o'clock news the 6 o'clock news?

Oh, I'm very sorry, but all the lines
to the newsroom are busy right now.

I have to put you on hold.

They've started
the trace now, sir.

- Okay, let's go.
- Fine.

We have a line free to
the newsroom now.

I can connect you.

Thank you for waiting.

It's about time.

Ronald Harris, sir.

Good evening. May I help you?

How can you make
such a dumb mistake

calling the 10 o'clock
news the 6 o'clock?

- We did that?
- You sure did.

You called it the 6
o'clock news just now.

I didn't realize that.

I'm very sorry, sir.

Just a moment.

Miss Wilson.

Find out if the 10
p.m. news was called

the 6 p.m. news.

Will you?

Please.

We're checking
on it right now, sir.

It's the most embarrassing

situation.

Are you sure you
heard correctly?

One more minute.

Yes, we did.

I agree completely.

Thank you so much for
bringing it to our attention.

I hope you will continue

to watch our newscasts
and report on our accuracy.

Tell me,

Are you a regular viewer?

Oh, forget it.

Well, at least we
found the area, sir.

Yeah.

North central area, sir.

That's great.

Only ten square miles.

Well, we have squads out
right now covering it all.

What time is it?

Nearly 11.

I have to deliver that
painting by midnight.

Any word from Washington?

Nothing.

Are you ready to listen
to the tape now, sir?

What about the voice graph?

It doesn't check with
anything we have on record.

How can you make
such a dumb mistake

- Listen.
- calling the 10 o'clock

- You get in?
- news the 6 o'clock?

- What?
- In the background.

Sure did. You called
it the 6 o'clock news.

- Just now.
- I had rea..

- Pocketer, pocketer, pocketer, pocketer, pocketer.
- Pocketer, pocketer, pocketer, pocketer, pocketer.

What does that
sound like to you?

- Pocketer, pocketer.

Me too.

I keep coming back
to what Sally said.

The more I think about it,
the more convinced I am.

Wait a minute.

The day I proposed,

there's someone else
who knows about that.

Of course she tells
me everything.

And I mean everything,
Commissioner.

Did she mention the fact
she kept refusing me?

Mm-hmm.

- Did she say why?
- Mm.

Well, why?

Well, Commissioner, I...

kind of hate
to tell you this.

Mildred,

something about the proposal

or the day of the proposal
might save Sally's life.

Now, please, tell
me everything.

Okay, you asked for it.

She kept turning you down
because she loved you so much.

Because she loved me so much?

And she wanted to make sure

that you loved her as much.

Well, that doesn't
sound so bad, sir.

Oh, I haven't gotten to
the bad part yet, Sergeant.

You see, the Commissioner
used to play around a lot.

Uh,

- You want it all, Commissioner?
- Yeah.

Good.

The Commissioner was
the biggest make-out man

in the entire San
Francisco area.

Some people said
the entire West Coast.

I never said so, but
some people did.

No offense, Commissioner.

No offense.

Well, he used to take out
a different girl every evening

and sometimes in
the afternoons, too.

We used to read about him
in all the society columns

and in some other columns.

And I used to say
to Mr. McMillan,

of course her name wasn't
Mrs. McMillan in those days.

- Her name was...
- Mildred!

Oh, yeah.

Well,

I would say
to Mrs. McMillan,

listen, if worse
comes to worse,

you can always get
a great divorce.

I mean, I felt the settlement
alone was worth...

The proposal, Mildred.

What did she say
about the proposal?

Well, she said
that it took all day

and that she had to
pop the question.

Really, Commissioner?

Is that the way you
remember it, sir?

Well, yeah, I had to
work late in the office.

It must have been.

After 11 when I left.

She was waiting for
me in the parking lot.

Good evening.

Well,

this is what I call
a real class surprise.

How can you be sure?

You haven't even seen
what's in my hamper yet.

Hamper?

I thought
that was your purse.

You didn't eat
dinner, did you?

No.

Not even a lousy sandwich.

Oh, well, that's
what I brought you.

A lousy sandwich.

I'd love a sandwich.

I'm starved.

Good. My cooking works best
on people who are starving.

You call this cooking?

I call it a tuna
fish sandwich.

Well, I call it cooking.

Anything I do in
the kitchen, I call cooking.

Then you're a great cook,

because it's
a great sandwich.

Do you really mean that?

Sure I mean it.

Will you marry me?

Sally, are you sure

I'm the one?

Well,

I wouldn't want you to end up
with a wife who couldn't cook.

I love you, Mac.

Then what happened?

Really, Sergeant.

We just

drove around,

talked,

made plans.

Well, sir, where
did you drive?

I don't know.

We just drove around.

I wasn't paying
any attention.

Oh, there's
nothing here, Sergeant.

I remember.

It started out this way.

Where were you going?

I don't know. Just...

driving around.

Where to from here,
Commissioner?

All over, like I
just told you.

Well, sir, I don't understand
what the clue was.

How will we find her if
you drove everywhere?

I don't know.

Maybe what she
said wasn't a clue.

Maybe I just wanted it to be.

Maybe she was just nervous.

No, she

wasn't nervous
the day I proposed.

I was.

I just can't remember.

Commissioner, I have never
seen you like this.

You've never
given up before.

Hey, it's almost 12 o'clock.
We better get back.

McMillan.

Washington calling,
Commissioner.

What have you got, Harry?

Officially, Mac. We had
nothing to do with this.

And if you lose that painting, we'll
issue a statement denouncing you.

Also,

don't ask me what I had
to promise in return.

Or what we're
giving away for this.

But you've got a green light.

Harry, you're sensational.

In fact, this phone
call never took place.

- And Mac.
- Yes.

Good luck.

Thanks, Harry.

Thank you.

Would you hold this for me?

I've been here a long time. I was even
on duty the night they got the Goya.

Just to stand here and watch.

It was worse on my
ulcer than a shootout.

Thank you.

Good night, Commissioner.

Good night.

And good luck, sir.

Thanks.

Yes?

Right on time, Commissioner.

Now go to 8th and Howard
for further instructions.

8th and Howard.

I'll take Market Street.

8th and Howard. Got
it, Commissioner.

- Morning Chronicle, sir?
- No, thanks, son.

Might as well
take it. It's free.

The fellow in the corner
already paid for it.

Said he was sure you got it.

- Thank you.
- You're welcome.

Sending me back
to Bush and Polk.

We're with you, Commissioner.

All right. Let's cut this
out and get on with it.

But you're doing so
well, Commissioner.

Now bring it
across the street.

That's right.

The building directly
in front of you.

I'm going into a building
across the street, a tall one.

Apparently, that's where
they'll make the drop.

We're right behind
you, Commissioner.

And, sir,

be careful.

Commissioner?

Inside the elevator.

He's in the building.

Why the roof?

No questions, Commissioner.

Just keep your mouth
shut, you understand?

He's in the building,
going up to the roof now.

Just hold it right there.

They should hold your
friends for a while.

Let them walk up.

Move.

Look, they've
jammed the elevator.

Martin, you stay here.

We're going to have
to climb the stairs.

But, Sergeant, we're
going to lose the painting.

There is no way out of here
but the elevator and the stairs.

We've got them trapped.

All right.
Now hold it.

Take out the painting.

Yeah, that's a real
one, all right.

And no bugs.

All right, put it back.

All right.

What about my wife?

Oh, you'll get her back.

Just don't try anything
cute, Commissioner.

Be dumb if anybody got killed
over a painting now, wouldn't it?

All right, now what?

She coming in on that?

Don't ask me, Commissioner.

I'm a messenger
boy, just like you.

The Rembrandt, he's gone.

I got a police helicopter.

You'll never find
them in the dark.

Commissioner, you
promised you'd keep it safe.

If I could get my wife back,
I'd give them the Prado.

More crimes committed against
the Spanish government.

We find you guilty.

We interrupt your movie
to bring you the latest

on the fast-breaking
story of the loss

of a world-famous
Rembrandt painting

delivered as ransom
to the kidnappers

of Mrs. Stuart McMillan, wife
of the police commissioner.

The loss of the Rembrandt
has shaken the art world.

Police had planned to
recover the painting

once Mrs. McMillan
was safely returned,

but the plan was thwarted
by the daring helicopter

escape of the kidnappers
with the masterpiece.

As yet, Mrs. McMillan
has not been released.

The failure of the kidnappers

- to release their victim
- Anything?

- has heightened the controversy.
- Nothing.

Reaction to the loss
of the painting

is already beginning to come
in from around the globe.

Via satellite, James
Harrison talked to an official

at the Louvre in Paris.

Do you feel, sir, that
the ransom of the Rembrandt

will affect
the Louvre's policy

of loaning its art treasures
to other museums?

We are calling a board meeting
for the end of the week

to review our loan policy.

Would the Louvre ever give
in to a kidnapper's demand

to relinquish one of
its masterpieces?

Unthinkable.

Under no circumstances.

To your knowledge, has
this ever happened before?

To the best of my knowledge,

nothing like this has ever
occurred for the past 50 years.

I see.

Do you feel that this will precipitate
a rash of similar actions?

It is very difficult to answer
this sort of question

because we never
know when someone

is going to come
to the museum

to do something of this sort.

I see. Thank you very much.

You're welcome, I'm sure.

The Spanish government has sent
an angry communique to Washington.

But the State Department
has yet to make a comment.

Sir William Chamberlain,
the noted British art critic,

fears that the incident
might set a precedent.

We have his comments now
via satellite from London.

The danger,

especially in America,

is that these things
tend to become

trends overnight.

And have you ever noticed

how they always seem
to originate in America?

Now, why is that?

We take you now to Chester
Davis in our remote unit

for an on-the-spot view.

We're talking
with Mr. Al Liston

at Johnny's Coffee
Shop on 8th Street.

Mr. Liston, are you aware
of the ransom demand

being made for Commissioner
Stuart MacMillan's wife?

Oh, sure.

Sure, you told
me all about it

before you turned
on all those lights.

Don't you remember?

Do you think
the commissioner was right

to risk a masterpiece?

Does love conquer all?

Oh, buddy.

Are you asking
the wrong fellow?

I mean, have you
ever met my wife?

Why do you think I'm hanging
around a coffee shop all night?

And that wraps it up
from our remote unit.

This is Chester Davis returning
you now to our studio.

Thank you, Chester Davis.

Our in-studio guest is

the chairman of
the museum board,

Matthew Pennington.

Mr. Pennington, welcome.

What do you think of
the commissioner's actions?

He had absolutely no choice.

But as one of this country's
largest art collectors,

are you concerned that
all of this is going to lead

to a series of kidnappings

in exchange for art objects?

As an art collector,

I surely know the value
of a masterpiece.

But I've never
seen a painting

or any other material object
that was worth a human life.

Then you approve of the police
commissioner's action.

I not only approve,

I feel it reflects great
personal courage.

Thank you, Mr. Pennington.

Other local and
international figures,

while sympathizing with
the police commissioner's

personal plight,

tend to hold him
responsible for losing

one of the world's
great masterpieces.

Why punish yourself
anymore, commissioner?

Mr. Pennington was right.

You showed great
personal courage.

We're going to
get her back, sir.

Look, these are very
special kidnappers.

Most likely
a highly organized

international syndicate.

They didn't want money.

They wanted a painting.

And I think they'll
keep their word.

Charlie, you and I have
been around kidnappings

too long to kid ourselves.

Mildred.

Do you still have those
scrapbooks of yours?

- The one you hate?
- Yeah.

Yeah, I'll go get them.

I was just looking at
them this morning.

Go into the warehouse.
It's time to collect.

But keep an eye on her.

It's almost over.

I just checked on her.

She's sleeping
like a pussycat.

Pussycats don't sleep.

They nap.

Yeah, right on time. Good.

Everything Mr. Edgar
does is on schedule.

Satisfied?

That's unmarked.

I'm satisfied.

So is Mr. Edgar.

He wants you to release
Mrs. McMillan before noon.

Right.

Mr. Edgar wanted
me to tell you

what a pleasure it was
doing business with you.

It was my pleasure.

He said he may have more
business for you soon.

Oh, good.

How do we get in
touch with you?

We'll get in touch with you.

Ooh, that is
a honey of a shot.

Where was that taken?

I can't remember.

I keep going back
to what Sally said.

I haven't been this nervous

since you proposed.

Now, there's got to be
a clue in there somewhere.

What does that
mean, Sergeant?

Mildred?

Well, sir, maybe it, uh...

I don't know.

Listen, how about a little
something to eat, gentlemen?

I mean, personally, I can't think
without a plate of food in front of me.

It's breakfast time anyway.

What did you say?

Breakfast. You remember,
eggs, toast, bacon...

No, no, no, the part about

a plate of food in front of you.

Sally always says
that, doesn't she?

Hmm?

Now, wait a minute.

Locks and bagels
for breakfast.

Locks, bagels, delicatessen.

No.

Champagne, caviar for lunch.

Tuna fish sandwiches...

for dinner.

Locks,

caviar,

tuna fish?

It's fish!

She smells fish!

We've dispatched wads to
every pier in the area, sir.

Better make it the whole
coastline, Enright?

Muir to Ray's Point. They could
have placed a call anywhere.

Yes, sir. Where will you be?

I'm playing a hunch. I'm
on my way to the marina.

Sally and I used
to eat there.

Police! Could you take
me to the police station?

Yeah, get in, lady.

There's probably two
men following me.

Give me the marina
port, Captain.

Port Captain's office.

Speaking.

Yes, sir.

New boats?

Just a minute.
I'll look and see.

I'm interested in any new
boats that came in this week,

especially if you don't
know the owners.

I have three
that'll fit the bill.

Slip 18, 24, and 27.

Yes, sir. I'll see you
there right away.

How'd she get away?

Because I left them
with you, you idiot.

Now, this time,
tie her up good.

I didn't even see her leave.

Well, you can bet she
got a good look at us.

That means they'll
be able to trace us.

Not death, she won't.

Wait a minute. He
said not to harm her.

We got no choice
now, have we?

Dumb broad.

Hello, Commissioner.

Hi.

- Grab that bar line, will you?
- Yep.

- How are you?
- Good to see you.

Seems quiet enough
around here.

Yeah, well, let's
check and make sure.

Charlie, you said
nobody ever came here.

No, Myrtle, there's no
need to be inhospitable.

Hello, I'm Charles Nelson.

Welcome aboard.

That's gotten where it's bigger than
fishing in the marinas these days.

He can't pull out of
here at that speed.

What slip was he using?

Number 27.

That may be your
man up ahead.

Harbor Masses is
the port captain.

Alert the Coast Guard.

We're pursuing a cabin cruiser
heading out to open sea.

We'll need a helicopter
and some boats.

Over.

Looks like the harbor
police are on our table.

Let's just dump
her right now.

This is the Coast Guard.

This is the Coast Guard.

Heed to or we will
commence firing.

So I finally realized
it was fish.

Why took you so long?

Chocolate meringues.

Boy, do I love them.

It was really nice of you
to make them, Mildred.

I know what
a nuisance they are.

That's right.

Oh, a little hard.
They're yesterday's.

I should have mentioned it.

Mmm.

They're still delicious.

Even day-old
chocolate meringues

taste good to somebody who
loves them as much as I do.

Well, I'm going to leave
you two alone now.

Mildred,

before you leave,

I was wondering
about the drapes.

Now, I love the half
you cleaned,

but the other half is
looking a little strange.

Yeah, well, I...
I'll get around to them.

And while we're on
the subject, Mildred,

the kitchen cabinets
look a little silly.

Half varnished.

Okay.

Okay.

I thought she'd turn a corner
while you were away, but

I'm afraid she snuck
back around it.

I love her just
the way she is.

I love you, too.

It's good to be here.

Mac.

Mac.

Why wouldn't anybody want
to steal a masterpiece?

What could he do with it? He
couldn't show it to anybody.

Well, there's always the possibility
that he just shouldn't look at

it all by himself.

You mean an art lover could
have pulled the whole thing off?

Well, a very

selfish one.

Either the kidnappers had
a buyer for the painting or

a private collector had it planned
right from the beginning.

Where would he
be able to enjoy it?

He couldn't even hang
it in his own house.

Well, he'd need
a private place.

Very private.

A place he'd

have to have built.

Since it was announced
that the Rembrandt

was going to be shown here.

Poor Señor Feliciano.

The whole thing was
his responsibility.

He really loved
that painting.

- What have you got?
- Ha, ha, ha, ha, ha.

You sure this couldn't wait until
we opened, Commissioner?

I asked the same
question, Mr. Farrar.

You got the information
I asked for?

Yes, sir.

Every blueprint,

permit,

building contract in the file.

Right where the marker is.

There you are, Sergeant.

A wine cellar?

You got me out of bed
to look up a wine cellar?

I'm afraid no one is up yet.

Then wake him up.
Tell him it's urgent.

I'm sorry, sir, but my master gave
strict orders not to be disturbed.

All right, I'll wait.
In the wine cellar.

We have no wine cellar.

Well, you may call
it by another name.

In fact, I'm sure you do.

But Atlas Construction,
who built it,

lists it as a wine cellar.

No one's allowed down there.

You know,

your master expects
too much of his servants.

Don't you guys have a union?

Hello, Mac.

Matthew.

How did you figure it out?

I knew the thief had
to be an art lover.

Could have been
anyone, anywhere.

And he also had to know I'd
do anything to get Sally back.

That meant it had
to be a friend.

Breathtaking, isn't it?

Yes, it is.

I haven't slept all night.

Who could?

You know,

it's sad.

Unfair, really.

You can have all
the money in the world,

but there are still some
things you just can't buy.

The masterpieces that
museums so love to hoard.

Yes.

Outrageous, isn't it?

In a museum, anybody
can enjoy a masterpiece.

Not have to pay
for the privilege.

But I was willing to pay.

You will.

Breathtaking, isn't it?

Mm-hmm.

Still, I can't help
feeling sad.

Matthew worked so hard
to make it all possible.

I wish he could see all
these people enjoying it.

I doubt if he'd get
much of a kick out of it.

I suppose you're right.

It's incredible that a man
can come to the point

where things don't interest him
unless he can possess them.

Oh, I don't know. I...

I'm a little like
that myself.

Still, I can't help wondering

what it would be like
to own a masterpiece.

To have it in your own
home all the time.

Why not ask the man
who owns one?

Mm-hmm.

I don't think kisses
are allowed in here.

Oh, sure.

Kisses are.

I think we'd better leave.