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{\an1}- Tonight, the biggest
art heist in history.
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{\an1}- Some of the pieces
that were stolen
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{\an1}were priceless masterpieces.
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{\an1}- Some have been taken carefully
and unscrewed out of frames.
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{\an1}Others have been cut out.
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{\an1}- The men are tied
up with duct tape,
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{\an1}and they look like hell.
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{\an1}- Half a billion dollars
in masterpieces gone
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{\an1}without a trace
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{\an1}and a three-decade
search down many paths,
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{\an1}all leading nowhere.
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{\an1}- The thieves knew things that
only an insider would know.
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{\an1}- This is not a guy who you
would pick out of a lineup
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{\an1}and say, oh yeah, he's some
kind of a criminal mastermind.
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{\an1}- Now, we'll uncover
the top theories
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{\an1}behind this perfectly
planned heist.
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{\an1}- If mobsters did steal it,
who did they steal it for?
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{\an1}- Was he assassinated because
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{\an1}he knew something about
the Gardner Museum?
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{\an1}- The fact that no one's
come forward after 33 years,
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{\an1}that's what makes this case one
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{\an1}of the world's
greatest mysteries.
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{\an1}- Who orchestrated the
Gardner Heist and why?
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{\an1}(dramatic music)
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{\an1}- [Laurence] 8:15 AM on
Sunday, March 18th, 1990,
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{\an1}guards arrive for their shift
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{\an1}at the Isabella
Stewart Gardner Museum
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{\an1}and are shocked to find
the security desk empty.
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{\an1}They radio the overnight
guards but get no reply,
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{\an1}so they call the Boston Police.
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{\an1}- The police find the
guards in the basement,
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{\an1}bound and handcuffed
to the pipes.
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{\an1}- The men are tied
up with duct tape,
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{\an1}not only duct tape on
their hands and feet,
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{\an1}but also duct tape around
their face and their eyes,
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{\an1}and they look like hell.
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{\an1}- The first thing the police did
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{\an1}after freeing the guards and
getting their statements,
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{\an1}was search the
museum for evidence.
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{\an1}- What they discover is,
place has been robbed.
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{\an1}- [Laurence] The
police are shocked
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{\an1}at what they see
in two galleries.
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{\an1}- Police find the
galleries in disarray,
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{\an1}with broken glass, paint
chips on the floor,
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{\an1}scraps of canvas
hanging to frames
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{\an1}with the paintings
themselves missing.
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{\an1}Some have been taken carefully
and unscrewed out of frames.
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{\an1}Others have been cut out.
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{\an1}- [Laurence] One piece
has also been taken
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{\an1}from a third gallery
known as the Blue Room.
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{\an1}- It's the only piece taken
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{\an1}from the first floor
of the Garden Museum.
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{\an1}- [Laurence] The
theft is massive,
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{\an1}13 pieces of artwork valued
today at about $500 million.
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{\an1}- The theft is the largest
unsolved art theft in history,
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{\an1}as well as the largest theft
of property in America.
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{\an1}- [Laurence] The Gardner
Museum is a landmark in Boston,
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{\an1}modeled after a 15th
century Venetian palace.
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{\an1}It holds the private collection
of heiress and art patron,
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{\an1}Isabella Stewart Gardner.
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{\an1}- Wanting to share her
collection with the public,
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{\an1}Gardner opened the
museum in 1903.
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{\an1}- She spent about a decade
making it to her perfection.
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{\an1}And it was a perfection.
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{\an1}It was, when it opened,
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{\an1}the largest privately owned
collection of art in America.
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{\an1}- [Laurence] After the robbery,
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{\an1}investigators take inventory
of the stolen items.
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{\an1}Many are one of a kind.
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{\an1}- The pieces that were stolen
were priceless masterpieces.
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{\an1}One was a Rembrandt
seascape, known as
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{\an1}"A Storm Over the
Sea of Galilee."
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{\an1}It's the only seascape
Rembrandt ever did.
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{\an1}Another piece was
called "The Concert."
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{\an1}It was by Vermeer.
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{\an1}It's the only Vermeer
that's missing in the world.
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{\an1}Those two pieces alone
were valued at the time
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{\an1}of over $200 million.
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{\an1}Some of the other pieces
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{\an1}that they took were
a few Degas sketches,
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{\an1}a Manet called "Chez Tortoni,"
which was a painting.
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{\an1}They took the fitting off
of the first regimental flag
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{\an1}of Napoleon and also
a Chinese beaker.
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{\an1}- [Laurence] Who
could have pulled off
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{\an1}such a brazen heist and
how did they do it?
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{\an1}- They really knew their way
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{\an1}around the sort of logistical
structure of the institution.
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{\an1}They were really familiar
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{\an1}with the institution's
security system.
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{\an1}And they navigated the galleries
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{\an1}in a way that was around
the motion detectors.
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{\an1}- [Laurence] Not only
did the thieves navigate
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{\an1}the museum with ease,
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{\an1}they appear to know
the security systems.
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{\an1}- When police initially are
investigating the crime scene,
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{\an1}they find that all of the
security footage tapes
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{\an1}have been taken,
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{\an1}and they also find
that printouts
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{\an1}of the motion detector
data have been removed.
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{\an1}The thieves are, we can assume,
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{\an1}believing that they're leaving
without any sort of trace
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{\an1}of where they've been
or what they've done.
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{\an1}- The thieves knew things that
only an insider would know.
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{\an1}- One of the first people
that they looked at
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{\an1}as an insider was Richard Abath,
who was a guard that night.
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{\an1}- He was a security guard,
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{\an1}so he knew the security system
at the museum very well.
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{\an1}He was a 23-year-old,
self-described hippie
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{\an1}who had admitted to coming to
work inebriated several times.
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{\an1}- He had done things
over that year
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{\an1}that should have
gotten him fired,
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{\an1}and he just got
away with things.
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{\an1}And I think he just
got lackadaisical.
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{\an1}- [Laurence] Abath tells police
that on the night of the heist,
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{\an1}he noticed a pair of unusual
visitors outside of the museum
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{\an1}after closing time.
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{\an1}- Rick looks up at the
closed circuit TV monitor,
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{\an1}there shows two men ringing
the doorbell in police uniform
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{\an1}and one of them says, "Open up.
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{\an1}We are here to investigate
a disturbance."
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{\an1}- It was St. Patrick's
Day morning.
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{\an1}In other words, people
were partying in Boston.
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{\an1}There were revelers
out on the street.
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{\an1}So for two police officers
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{\an1}to show up at that point
was not that unusual.
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{\an1}- But Rick's handbook says,
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{\an1}if someone comes
to the side door
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{\an1}and demands entrance and
you cannot get rid of them,
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{\an1}you call the police,
but he doesn't.
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{\an1}- Abath's response
really wasn't the best.
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{\an1}He said that he allowed
these two gentlemen
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{\an1}to come in dressed
as police officers
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{\an1}because he believed that
they were Boston cops.
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{\an1}- [Laurence] Abath
doesn't follow
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{\an1}the museum's clear security
protocols that night,
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{\an1}but what he does do
is radio his colleague
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{\an1}to come to the security desk
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{\an1}because the two police
seemingly want to arrest him.
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{\an1}- The two police officers say
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{\an1}to Rick in a sort
of a offhand way,
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{\an1}but convincing to Rick, "Hey,
you look familiar to us.
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{\an1}Do we have a warrant
for your arrest?"
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{\an1}And as Rick explains it, he
thought, "I better go along
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{\an1}with what they're
asking me to do,"
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{\an1}which was to step around away
from the back of the table
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{\an1}and come out in front of us
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{\an1}so we can get a
good look at you.
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{\an1}- These two police
officers lure Abath
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{\an1}and his co-night guard away
from their security desk,
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{\an1}which would be the only place
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{\an1}that they'd easily be
able to call for help
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{\an1}from the outside world.
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{\an1}- As soon as he's
within proximity,
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{\an1}they immediately place
handcuffs on him.
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{\an1}And when the second
security guard comes in,
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{\an1}he too is cuffed.
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{\an1}So now these two are
totally confused.
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{\an1}They're wondering why are these
police officers arresting them,
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{\an1}and it's at that moment that one
of the police officers says,
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{\an1}"This is a robbery."
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{\an1}They lead him to the
basement of the museum,
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{\an1}which was very odd because,
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{\an1}how would they even know that
the museum had a basement?
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{\an1}And then they strategically
placed them about 50 feet apart.
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{\an1}They duct tape them
in an odd manner,
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{\an1}allowing one of the
security guards the ability
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{\an1}to kind of peek through the
spaces in between the duct tape.
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{\an1}- The robbers say to both
guards before leaving them,
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{\an1}"Keep your mouth shut
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{\an1}and you'll get your
reward in a year's time."
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{\an1}- [Laurence] The thieves leave
the basement around 1:35 AM.
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{\an1}After waiting an hour or so
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{\an1}to ensure the guards
are still tied up,
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{\an1}they exit the museum.
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{\an1}But first, they take
the security tape
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{\an1}and a printout of the
museum's motion detectors.
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{\an1}They make one crucial mistake.
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{\an1}- The thieves knew to
take the security tape
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{\an1}and to take the printout,
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{\an1}but they didn't realize
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{\an1}that the hard drive had
stored the movements also
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{\an1}so it could be reproduced,
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{\an1}and that's how we know
where they went that night.
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{\an1}- [Laurence] Investigators
can now track all the movement
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{\an1}through the museum that night,
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{\an1}beginning in the gallery
known as the Dutch Room.
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{\an1}- The thieves travel
both to the Dutch Room
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{\an1}and the Short Gallery.
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{\an1}The Dutch Room is
where they're taking
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{\an1}five important old master works,
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{\an1}including the concert
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{\an1}and Rembrandt's "Storm
on the Sea of Galilee."
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{\an1}And the Short Gallery
is where they're taking
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{\an1}most of the Degas
works on paper,
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{\an1}as well as the Eagle Finial.
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{\an1}- [Laurence] In all,
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{\an1}the thieves were in the
museum for 81 minutes,
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{\an1}leaving at 2:45 AM.
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{\an1}When the police look at
the motion detector data,
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{\an1}they find something
highly suspicious.
201
00:08:49,333 --> 00:08:51,667
{\an1}- The only information shown
on the motion detector data
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{\an1}in the Blue Room comes
from hours before,
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{\an1}when Abath admits
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00:08:54,958 --> 00:08:58,083
{\an1}that that was most likely
him doing his rounds.
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{\an1}- To me, it's the mystery
within the mystery.
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{\an1}It's the theft within the theft.
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{\an1}Why didn't their footsteps
show up in that room?
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{\an1}Rick was in that room before
the bad guys showed up.
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{\an1}Could he have taken
it off the wall?
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{\an1}- [Laurence] Investigators
learn more
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{\an1}about Abath's actions that
night that raise alarm bells.
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00:09:20,292 --> 00:09:22,792
{\an1}- We know that Rick Abath opened
213
00:09:22,875 --> 00:09:25,292
{\an1}and closed the Palace Road door.
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{\an1}Why would he do that?
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{\an1}That was not part of his rounds.
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{\an1}That was not part of
the usual protocol.
217
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{\an1}It looks awfully fishy.
218
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{\an1}Was he signaling the robbers
it's a good time to come?
219
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{\an1}- [Laurence] Despite
their suspicions,
220
00:09:40,250 --> 00:09:42,750
{\an1}investigators never
amass enough evidence
221
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{\an1}to charge Abath with the crime.
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{\an1}- This is a man who has lived
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00:09:47,083 --> 00:09:50,042
{\an1}under a cloud of suspicion
for his entire life,
224
00:09:50,125 --> 00:09:53,042
{\an1}but this is not a guy who you
would pick out of a lineup
225
00:09:53,125 --> 00:09:57,000
{\an1}and say, "Oh yeah, he's some
kind of a criminal mastermind."
226
00:09:57,042 --> 00:09:59,250
{\an1}- [Laurence] Ultimately,
he moves out of the state,
227
00:09:59,333 --> 00:10:00,833
{\an1}finishes his college degree,
228
00:10:00,917 --> 00:10:02,917
{\an1}and works as a teacher's aide.
229
00:10:03,958 --> 00:10:07,042
{\an1}Then in 2015, he's
back in the spotlight
230
00:10:07,125 --> 00:10:10,542
{\an1}after the FBI released a
security video from the museum,
231
00:10:10,667 --> 00:10:13,167
{\an1}taken a night before the theft.
232
00:10:13,208 --> 00:10:17,333
{\an1}- The FBI video shows Mr.
Abath buzzing in a person
233
00:10:17,458 --> 00:10:19,417
{\an1}to talk to him at
the security desk,
234
00:10:19,500 --> 00:10:21,125
{\an1}which was against the rules.
235
00:10:21,208 --> 00:10:22,625
{\an1}So it took many years,
236
00:10:22,708 --> 00:10:26,625
{\an1}almost 25 years for the
FBI to release that video.
237
00:10:26,708 --> 00:10:29,625
{\an1}- The museum and the FBI say,
238
00:10:29,708 --> 00:10:32,208
{\an1}"We want to know who
this person was."
239
00:10:32,208 --> 00:10:34,958
{\an1}Rick was asked, "Do you
know who this was?"
240
00:10:35,042 --> 00:10:36,833
{\an1}Rick says, "I don't
remember it."
241
00:10:38,167 --> 00:10:41,667
{\an1}- Abath is giving inconsistent
statements to the officers
242
00:10:41,750 --> 00:10:43,833
{\an1}and they're not
buying any of it,
243
00:10:43,917 --> 00:10:46,708
{\an1}but eventually he's given
two polygraphs and he passes.
244
00:10:48,042 --> 00:10:51,250
{\an1}- [Laurence] So if the theft
was done by an insider,
245
00:10:51,375 --> 00:10:52,750
{\an1}who is responsible?
246
00:10:53,917 --> 00:10:56,167
{\an1}- Whether or not Abath
was the inside man,
247
00:10:56,250 --> 00:10:59,625
{\an1}we know that this was not
one person acting alone.
248
00:10:59,708 --> 00:11:02,333
{\an1}This was a group
of people planning
249
00:11:02,375 --> 00:11:03,750
{\an1}and executing this heist.
250
00:11:08,792 --> 00:11:10,375
{\an1}- [Laurence] After failing
to find enough evidence
251
00:11:10,375 --> 00:11:13,750
{\an1}to charge a night security
guard at the Gardner Museum,
252
00:11:13,833 --> 00:11:17,333
{\an1}investigators looking
into the case are stumped.
253
00:11:17,375 --> 00:11:19,083
{\an1}The FBI releases sketches
254
00:11:19,167 --> 00:11:22,167
{\an1}of the thieves posing
as Boston Police
255
00:11:22,250 --> 00:11:24,292
{\an1}in hopes of identifying
the suspects.
256
00:11:25,667 --> 00:11:26,833
{\an1}- Who were these two men?
257
00:11:26,958 --> 00:11:28,708
{\an1}And how did they
carry out the theft
258
00:11:28,792 --> 00:11:31,417
{\an1}in the very particular
way in which they did?
259
00:11:31,500 --> 00:11:34,208
{\an1}- [Laurence] The sketches
reveal the thieves' disguises
260
00:11:34,333 --> 00:11:37,792
{\an1}and present a new angle
in the investigation.
261
00:11:37,875 --> 00:11:39,250
{\an1}- In any type of a crime,
262
00:11:39,333 --> 00:11:41,167
{\an1}the first thing investigators
are gonna do is look
263
00:11:41,250 --> 00:11:44,500
{\an1}at the forensic evidence that's
left behind at the scene,
264
00:11:44,583 --> 00:11:46,583
{\an1}interview individuals
who are witnesses,
265
00:11:46,667 --> 00:11:48,333
{\an1}and then look at
other situations
266
00:11:48,417 --> 00:11:49,875
{\an1}that occurred in that area
267
00:11:50,000 --> 00:11:53,292
{\an1}that are like that, other art
thefts that were unsolved.
268
00:11:53,375 --> 00:11:55,417
{\an1}Those are gonna be
your primary suspects
269
00:11:55,417 --> 00:11:56,958
{\an1}after the insiders.
270
00:11:57,958 --> 00:11:59,292
{\an1}- Investigators are
really gonna look
271
00:11:59,375 --> 00:12:00,333
{\an1}for key characteristics
272
00:12:00,417 --> 00:12:02,542
{\an1}that may be similar to
other crimes committed,
273
00:12:02,625 --> 00:12:04,083
{\an1}whether they involve art
274
00:12:04,083 --> 00:12:06,917
{\an1}or a similar M.O. by
particular criminals.
275
00:12:10,333 --> 00:12:13,292
{\an1}- Investigators looked at
other crimes in the area.
276
00:12:13,375 --> 00:12:14,875
{\an1}In one particular case,
277
00:12:14,875 --> 00:12:17,667
{\an1}a failed theft at
a similar museum.
278
00:12:17,708 --> 00:12:19,167
{\an1}Like the Gardner Museum,
279
00:12:19,292 --> 00:12:22,542
{\an1}the Hyde Museum Collection in
the collector's former home
280
00:12:22,667 --> 00:12:24,708
{\an1}and the art is very
similar, high value.
281
00:12:26,042 --> 00:12:28,958
{\an1}- The Hyde Collection
has old masters combined
282
00:12:29,042 --> 00:12:30,833
{\an1}with French impressionist works.
283
00:12:31,000 --> 00:12:33,208
{\an1}It's often been called
the Mini Gardner
284
00:12:33,292 --> 00:12:37,500
{\an1}and is another Palazzo style
museum in Upstate New York.
285
00:12:37,583 --> 00:12:40,708
{\an1}- [Laurence] On
December 22nd, 1980,
286
00:12:40,833 --> 00:12:43,125
{\an1}10 years before
the Gardner Heist,
287
00:12:43,208 --> 00:12:46,083
{\an1}two crooks are on their
way to rob the Hyde Museum
288
00:12:46,167 --> 00:12:48,000
{\an1}when they run into trouble.
289
00:12:48,083 --> 00:12:50,583
{\an1}- Two men hijack a FedEx truck.
290
00:12:50,708 --> 00:12:52,042
{\an1}They subdue the driver
291
00:12:52,125 --> 00:12:54,708
{\an1}in the back using
duct tape and ether.
292
00:12:54,833 --> 00:12:57,000
{\an1}They tell her that if she
behaves and cooperates,
293
00:12:57,042 --> 00:12:59,083
{\an1}that she will be rewarded.
294
00:12:59,167 --> 00:13:00,792
{\an1}- Some of the tools
they brought along
295
00:13:00,792 --> 00:13:03,167
{\an1}with them were
handcuffs, duct tape,
296
00:13:03,250 --> 00:13:05,625
{\an1}and knives to cut the
paintings out of their frames,
297
00:13:05,708 --> 00:13:07,542
{\an1}just like in the Gardner Heist.
298
00:13:07,667 --> 00:13:09,167
{\an1}- [Laurence] The
operation is called off
299
00:13:09,292 --> 00:13:11,500
{\an1}when the thieves get
caught in traffic
300
00:13:11,542 --> 00:13:14,500
{\an1}and realize they can't
get to the Hyde Collection
301
00:13:14,500 --> 00:13:16,208
{\an1}before closing time.
302
00:13:16,292 --> 00:13:19,833
{\an1}Authorities eventually
catch up to the hijackers.
303
00:13:19,958 --> 00:13:22,875
{\an1}- The FedEx driver is
able to ID the two men
304
00:13:23,000 --> 00:13:24,667
{\an1}who subdued her in
the back of the truck.
305
00:13:24,792 --> 00:13:26,667
{\an1}They are the con
artist, Brian McDevitt,
306
00:13:26,792 --> 00:13:29,917
{\an1}and his co-conspirator,
Michael Morey.
307
00:13:30,000 --> 00:13:32,750
{\an1}The two men are
convicted of kidnapping
308
00:13:32,833 --> 00:13:34,250
{\an1}and attempted grand larceny
309
00:13:34,333 --> 00:13:36,292
{\an1}and both spend several
months in prison.
310
00:13:37,708 --> 00:13:39,250
{\an1}- [Laurence] Both
men are out of prison
311
00:13:39,375 --> 00:13:41,167
{\an1}at the time of
the Gardner Heist,
312
00:13:42,250 --> 00:13:46,125
{\an1}but the methodology in
both cases is similar.
313
00:13:46,208 --> 00:13:48,958
{\an1}- While investigators are
looking into the Gardner Heist,
314
00:13:49,042 --> 00:13:51,375
{\an1}they're again drawn
to McDevitt and Morey
315
00:13:51,500 --> 00:13:52,833
{\an1}due to the similarities
316
00:13:52,958 --> 00:13:55,083
{\an1}between their attempted
robbery of the Hyde Collection
317
00:13:55,167 --> 00:13:57,000
{\an1}and the robbery of
the Gardner Heist.
318
00:13:57,125 --> 00:14:00,125
{\an1}The use of duct tape to
bind the FedEx driver
319
00:14:00,208 --> 00:14:02,583
{\an1}and the duct tape used
to bind the night guards,
320
00:14:02,667 --> 00:14:05,417
{\an1}the tools to remove
paintings from their frames,
321
00:14:05,500 --> 00:14:08,667
{\an1}as well as this promise
of if you behave,
322
00:14:08,792 --> 00:14:10,625
{\an1}you will be rewarded.
323
00:14:10,750 --> 00:14:13,208
{\an1}- So Michael Morey,
he had an alibi.
324
00:14:13,292 --> 00:14:15,667
{\an1}The other guy, Brian
McDevitt, not so much.
325
00:14:15,792 --> 00:14:16,917
{\an1}He didn't have an alibi,
326
00:14:17,042 --> 00:14:19,958
{\an1}and he was in the
Boston area that night.
327
00:14:21,750 --> 00:14:23,792
{\an1}- [Laurence] The FBI
spends more than a year
328
00:14:23,875 --> 00:14:26,250
{\an1}investigating Brian McDevitt.
329
00:14:26,375 --> 00:14:28,000
{\an1}- Brian McDevitt was
a real character.
330
00:14:28,083 --> 00:14:30,750
{\an1}He had a history of
fraudulent activity.
331
00:14:30,875 --> 00:14:32,083
{\an1}At one point, he even said
332
00:14:32,167 --> 00:14:34,083
{\an1}he was a member of the
Vanderbilt family.
333
00:14:34,208 --> 00:14:36,167
{\an1}Later, he moved to Los Angeles,
334
00:14:36,208 --> 00:14:38,583
{\an1}he joined the Writer's
Guild of America and said,
335
00:14:38,667 --> 00:14:40,500
{\an1}"I'm a successful screenwriter."
336
00:14:41,708 --> 00:14:43,375
{\an1}- In an FBI interview,
337
00:14:43,458 --> 00:14:47,500
{\an1}Morey told agents that McDevitt
used the exact same language
338
00:14:47,542 --> 00:14:52,000
{\an1}in the Hyde attempt that was
used during the Gardner Heist.
339
00:14:52,042 --> 00:14:53,958
{\an1}We know where you live,
but if you behave,
340
00:14:54,042 --> 00:14:55,500
{\an1}you will be rewarded.
341
00:14:56,833 --> 00:14:58,792
{\an1}- The FBI are able
to draw a connection
342
00:14:58,875 --> 00:15:01,000
{\an1}between McDevitt and
the Gardner Heist,
343
00:15:01,083 --> 00:15:04,125
{\an1}given that McDevitt himself
has a strong Boston accent,
344
00:15:04,208 --> 00:15:06,125
{\an1}which is consistent
with the description
345
00:15:06,208 --> 00:15:08,083
{\an1}that Abath provided
of the two thieves,
346
00:15:08,208 --> 00:15:09,917
{\an1}and McDevitt himself also seems
347
00:15:10,000 --> 00:15:12,542
{\an1}to resemble one of the
early police sketches.
348
00:15:12,625 --> 00:15:15,083
{\an1}- [Laurence] In 1992,
Brian McDevitt agrees
349
00:15:15,167 --> 00:15:16,500
{\an1}to talk to the FBI.
350
00:15:17,542 --> 00:15:20,333
{\an1}- McDevitt sits down with
the FBI several times,
351
00:15:20,375 --> 00:15:22,583
{\an1}each time insisting
that he's had nothing
352
00:15:22,667 --> 00:15:24,083
{\an1}to do with the Gardner Heist
353
00:15:24,208 --> 00:15:27,458
{\an1}despite the fact that he's
not able to produce an alibi.
354
00:15:27,542 --> 00:15:29,792
{\an1}- [Laurence] The FBI
also interviews a woman
355
00:15:29,875 --> 00:15:33,208
{\an1}who Brian McDevitt was dating
at the time of the heist.
356
00:15:33,292 --> 00:15:36,250
{\an1}- McDevitt had this girlfriend
who was over the moon with him.
357
00:15:36,333 --> 00:15:38,958
{\an1}I mean, she thought he was
like an artistic genius.
358
00:15:38,958 --> 00:15:41,167
{\an1}He seemed very well-connected.
359
00:15:41,250 --> 00:15:43,167
{\an1}He had told his girlfriend
he was going down
360
00:15:43,250 --> 00:15:45,167
{\an1}to New York the
weekend of the heist
361
00:15:45,250 --> 00:15:48,167
{\an1}to attend this big soiree
put on by the Writer's Guild.
362
00:15:49,750 --> 00:15:50,917
{\an1}- Upon his return,
363
00:15:51,000 --> 00:15:53,625
{\an1}he told her that the
FBI may question her
364
00:15:53,708 --> 00:15:54,833
{\an1}and that if they did,
365
00:15:54,875 --> 00:15:56,458
{\an1}she was to tell them
that they had spent
366
00:15:56,542 --> 00:15:58,125
{\an1}St. Patrick's Day
weekend together,
367
00:15:58,208 --> 00:16:00,042
{\an1}which she ultimately
refuses to do.
368
00:16:00,125 --> 00:16:02,292
{\an1}And McDevitt became very irate
369
00:16:02,375 --> 00:16:04,458
{\an1}at the fact that she
refused to lie for him.
370
00:16:04,542 --> 00:16:07,792
{\an1}She learns that there was
no Writer's Guild event
371
00:16:07,875 --> 00:16:09,583
{\an1}over the weekend of
St. Patrick's Day.
372
00:16:09,667 --> 00:16:13,000
{\an1}She learns that he may not
even be a screenwriter.
373
00:16:13,125 --> 00:16:15,333
{\an1}McDevitt tells her that
he was actually involved
374
00:16:15,417 --> 00:16:18,042
{\an1}and had been paid to
commit the Gardner Heist
375
00:16:18,125 --> 00:16:20,417
{\an1}and that he has to
flee the country.
376
00:16:20,542 --> 00:16:22,208
{\an1}- She goes back and
writes in her diary
377
00:16:22,292 --> 00:16:25,167
{\an1}that she can't believe
what he just told her,
378
00:16:25,208 --> 00:16:27,208
{\an1}and she doesn't know
how to process it.
379
00:16:27,333 --> 00:16:28,708
{\an1}And she can't even handle it.
380
00:16:28,708 --> 00:16:31,708
{\an1}And it's so huge she
can't even write it down.
381
00:16:31,708 --> 00:16:35,667
{\an1}All that's in her diary is that
Brian did a terrible thing.
382
00:16:35,750 --> 00:16:39,708
{\an1}He admitted it and I don't
know how to process it.
383
00:16:39,792 --> 00:16:41,042
{\an1}- Feeling uncomfortable
384
00:16:41,167 --> 00:16:42,875
{\an1}and overwhelmed by the
amount of information
385
00:16:42,958 --> 00:16:44,500
{\an1}that's been given
to her by McDevitt,
386
00:16:44,583 --> 00:16:47,000
{\an1}she tells the FBI.
387
00:16:47,042 --> 00:16:50,375
{\an1}- When the FBI tries to
find Brian McDevitt again,
388
00:16:50,458 --> 00:16:51,958
{\an1}he's gone.
389
00:16:52,042 --> 00:16:54,875
{\an1}- He fled to Medellin, Colombia.
390
00:16:55,000 --> 00:16:56,583
{\an1}The FBI were able
to trace him there,
391
00:16:56,708 --> 00:16:59,375
{\an1}but he died before they were
able to interview him again.
392
00:17:00,625 --> 00:17:03,333
{\an1}- McDevitt's death
brought investigators
393
00:17:03,417 --> 00:17:06,333
{\an1}to another standstill with
many questions remaining.
394
00:17:06,375 --> 00:17:09,083
{\an1}Was McDevitt himself actually
involved in the theft
395
00:17:09,166 --> 00:17:11,833
{\an1}or was he just pretending
to have been involved
396
00:17:11,833 --> 00:17:13,916
{\an1}to impress anyone
who would listen?
397
00:17:14,000 --> 00:17:16,041
{\an1}- [Laurence] But
McDevitt isn't the only
398
00:17:16,125 --> 00:17:17,500
{\an1}compelling suspect in
this complicated case.
399
00:17:22,333 --> 00:17:25,708
{\an1}- [Laurence] In 1997, seven
years after the Gardner Heist,
400
00:17:25,791 --> 00:17:28,667
{\an1}a reporter from the Boston
Herald gets a strange call
401
00:17:28,708 --> 00:17:32,250
{\an1}from a man who claims to
have information on the case.
402
00:17:32,250 --> 00:17:35,000
{\an1}His name is William
Youngworth, Jr.
403
00:17:36,083 --> 00:17:38,000
{\an1}- He's an antique dealer
with a criminal past,
404
00:17:38,042 --> 00:17:39,500
{\an1}very unscrupulous.
405
00:17:39,625 --> 00:17:42,667
{\an1}Youngworth contacts a
reporter at the Boston Herald.
406
00:17:42,708 --> 00:17:45,083
{\an1}He makes it clear that he
didn't steal the paintings,
407
00:17:45,167 --> 00:17:47,000
{\an1}but he says, "I know
where the paintings
408
00:17:47,042 --> 00:17:49,000
{\an1}from the Gardner Heist are
409
00:17:49,042 --> 00:17:52,458
{\an1}and I can help you
facilitate their return."
410
00:17:52,542 --> 00:17:55,417
{\an1}- Youngworth told him that he
had not stolen the paintings,
411
00:17:55,542 --> 00:17:58,083
{\an1}but he could supply
them to be recovered.
412
00:17:58,208 --> 00:17:59,958
{\an1}- He tells reporters that
413
00:18:00,042 --> 00:18:02,583
{\an1}he would be willing
to return these pieces
414
00:18:02,667 --> 00:18:05,375
{\an1}to law enforcement if
the conditions are right,
415
00:18:05,458 --> 00:18:09,333
{\an1}those conditions being receipt
of the $5 million reward,
416
00:18:09,417 --> 00:18:12,250
{\an1}complete immunity for anything
surrounding the Gardner Heist,
417
00:18:12,333 --> 00:18:16,292
{\an1}and leniency for himself on
a separate unrelated case.
418
00:18:16,375 --> 00:18:18,333
{\an1}- And the FBI is
saying to Youngworth,
419
00:18:18,375 --> 00:18:20,333
{\an1}"You've got to
cooperate with us."
420
00:18:20,417 --> 00:18:22,125
{\an1}Youngworth says,
"I will cooperate
421
00:18:22,208 --> 00:18:24,625
{\an1}if you give into my
list of demands."
422
00:18:24,708 --> 00:18:26,667
{\an1}- [Laurence] In a
surprising twist,
423
00:18:26,708 --> 00:18:29,208
{\an1}one of Youngworth's
demands is the release
424
00:18:29,292 --> 00:18:32,750
{\an1}of his good friend Myles
Connor from prison.
425
00:18:32,875 --> 00:18:34,500
{\an1}At the time,
426
00:18:34,583 --> 00:18:38,208
{\an1}Connor is serving 10 years
for transporting stolen art.
427
00:18:38,292 --> 00:18:40,083
{\an1}- And Myles is a
very cunning guy.
428
00:18:40,167 --> 00:18:42,833
{\an1}He's very well-known to
the police around Boston,
429
00:18:42,875 --> 00:18:46,208
{\an1}both for art and
antiques thefts.
430
00:18:46,292 --> 00:18:47,750
{\an1}- Youngworth and
Connor have history.
431
00:18:47,833 --> 00:18:49,792
{\an1}They've been involved
in criminality together,
432
00:18:49,875 --> 00:18:52,000
{\an1}and it's quite possible
that all of this information
433
00:18:52,083 --> 00:18:54,875
{\an1}that Youngworth is offering
is nothing more than a scam
434
00:18:54,958 --> 00:18:56,333
{\an1}to come up with money.
435
00:19:00,042 --> 00:19:02,708
{\an1}Myles Connor is a name
that came up very early
436
00:19:02,833 --> 00:19:04,000
{\an1}in the investigation.
437
00:19:04,083 --> 00:19:05,708
{\an1}He was and probably still is one
438
00:19:05,833 --> 00:19:08,250
{\an1}of the most notorious
art thieves in America.
439
00:19:09,208 --> 00:19:10,583
{\an1}- In the 1970s,
440
00:19:10,667 --> 00:19:13,375
{\an1}he was caught by an undercover
FBI agent in an attempt
441
00:19:13,500 --> 00:19:16,667
{\an1}to sell stolen Andrew
Wyeth artworks.
442
00:19:18,875 --> 00:19:20,042
{\an1}Now, at the same time,
443
00:19:20,125 --> 00:19:22,250
{\an1}around 1975 while
he's out on bail,
444
00:19:22,333 --> 00:19:23,708
{\an1}Connor and some associates walk
445
00:19:23,792 --> 00:19:26,000
{\an1}into the Museum of
Fine Arts in Boston
446
00:19:26,042 --> 00:19:27,375
{\an1}and they steal a Rembrandt.
447
00:19:29,542 --> 00:19:32,167
{\an1}- Myles calls his lawyer
a year later and says,
448
00:19:32,208 --> 00:19:33,667
{\an1}"Tell the FBI,
449
00:19:33,750 --> 00:19:36,667
{\an1}if they want to get their
Rembrandt back from the MFA,
450
00:19:36,750 --> 00:19:38,042
{\an1}I'll give it back to them,
451
00:19:38,125 --> 00:19:40,458
{\an1}but they gotta do a deal
with me, I want a deal."
452
00:19:40,542 --> 00:19:42,667
{\an1}He gets the painting
to be brought back.
453
00:19:42,792 --> 00:19:44,167
{\an1}He goes into court.
454
00:19:44,208 --> 00:19:46,875
{\an1}He allows him to serve
the terms together
455
00:19:46,958 --> 00:19:48,375
{\an1}as one eight-year sentence.
456
00:19:48,458 --> 00:19:51,250
{\an1}So Myles thinks he's
got some leeway.
457
00:19:51,333 --> 00:19:53,333
{\an1}- [Laurence]
Investigators wonder,
458
00:19:53,417 --> 00:19:57,417
{\an1}could Connor be connected to
the infamous Gardner Heist?
459
00:19:57,542 --> 00:20:00,708
{\an1}If so, Youngworth isn't talking.
460
00:20:00,792 --> 00:20:03,833
{\an1}- Youngworth doesn't
give much information
461
00:20:03,875 --> 00:20:06,167
{\an1}because he has a
list of demands.
462
00:20:06,292 --> 00:20:08,542
{\an1}Before he fully cooperates,
463
00:20:08,625 --> 00:20:11,458
{\an1}he tells the FBI, "If you
fulfill these demands,
464
00:20:11,542 --> 00:20:14,375
{\an1}I will get you
back the paintings
465
00:20:14,458 --> 00:20:16,083
{\an1}that you're looking for."
466
00:20:16,167 --> 00:20:19,250
{\an1}- [Laurence] Both the FBI and
the Boston Herald reporter
467
00:20:19,333 --> 00:20:21,667
{\an1}are skeptical and demand proof
468
00:20:21,708 --> 00:20:24,958
{\an1}that William Youngworth really
does have the paintings.
469
00:20:25,042 --> 00:20:27,875
{\an1}- Subsequently, the two men
set up a clandestine meeting.
470
00:20:27,958 --> 00:20:30,708
{\an1}The Boston Herald reporter
is picked up by Youngworth
471
00:20:30,792 --> 00:20:32,083
{\an1}in the middle of the night
472
00:20:32,167 --> 00:20:33,875
{\an1}and driven to a
warehouse in Brooklyn.
473
00:20:33,958 --> 00:20:37,208
{\an1}In this warehouse, Youngworth
unfurls a painting
474
00:20:37,292 --> 00:20:40,000
{\an1}that the two men then
examine by flashlight.
475
00:20:40,083 --> 00:20:41,542
{\an1}The Herald Reporter believes
476
00:20:41,625 --> 00:20:44,875
{\an1}he has seen Rembrandt's
"Storm on the Sea of Galilee."
477
00:20:44,958 --> 00:20:46,458
{\an1}He then returns to Boston
478
00:20:46,542 --> 00:20:49,583
{\an1}where he publishes an article
called "We've Seen It!"
479
00:20:49,667 --> 00:20:51,292
{\an1}where they demand
further evidence,
480
00:20:51,375 --> 00:20:53,750
{\an1}but argue that they have
seen and know the location
481
00:20:53,833 --> 00:20:56,708
{\an1}of at least one of the
Gardner Heist paintings.
482
00:20:56,792 --> 00:20:59,417
{\an1}- [Laurence] The Herald's
reporter stays on the story
483
00:20:59,500 --> 00:21:01,958
{\an1}and demands even more proof.
484
00:21:02,042 --> 00:21:04,167
{\an1}- Youngworth
produces paint chips
485
00:21:04,250 --> 00:21:06,625
{\an1}from what he claims
to be the Rembrandt.
486
00:21:06,708 --> 00:21:08,167
{\an1}And paint chips
are very distinct
487
00:21:08,250 --> 00:21:09,833
{\an1}from different time periods.
488
00:21:09,875 --> 00:21:13,042
{\an1}Tracing something like
lead can actually tell you
489
00:21:13,125 --> 00:21:15,583
{\an1}what era a paint was made.
490
00:21:15,708 --> 00:21:18,417
{\an1}- [Laurence] The Herald then
turns over the paint flakes
491
00:21:18,500 --> 00:21:21,542
{\an1}to the FBI for more
detailed analysis.
492
00:21:21,625 --> 00:21:23,000
{\an1}- In doing this
scientific testing,
493
00:21:23,042 --> 00:21:24,542
{\an1}we're able to determine
494
00:21:24,625 --> 00:21:28,750
{\an1}that the paint chips themselves
are about 350 years old
495
00:21:28,833 --> 00:21:31,417
{\an1}and the materials being
used in those paint chips
496
00:21:31,500 --> 00:21:33,875
{\an1}are consistent with
the place and time
497
00:21:34,000 --> 00:21:36,625
{\an1}in which both Rembrandt
and Vermeer are painting.
498
00:21:36,708 --> 00:21:38,542
{\an1}- But in an interesting
turn of events,
499
00:21:38,625 --> 00:21:40,542
{\an1}they do not match the
Rembrandt painting.
500
00:21:40,625 --> 00:21:43,542
{\an1}- [Laurence] Despite being
dated to the same era,
501
00:21:43,625 --> 00:21:46,500
{\an1}the paint chips Youngworth
turned over were found
502
00:21:46,542 --> 00:21:49,208
{\an1}to contain oils and
pigments not found
503
00:21:49,208 --> 00:21:51,333
{\an1}in the museum's
stolen Rembrandt.
504
00:21:51,417 --> 00:21:54,458
{\an1}- The Gardner Museum felt
the investigators didn't do
505
00:21:54,542 --> 00:21:56,042
{\an1}a thorough investigation,
506
00:21:56,125 --> 00:21:58,000
{\an1}that they didn't
compare those chips
507
00:21:58,083 --> 00:22:00,167
{\an1}to every item that
had been stolen.
508
00:22:00,208 --> 00:22:02,208
{\an1}There was never
a comparison done
509
00:22:02,333 --> 00:22:03,833
{\an1}to see if, possibly,
510
00:22:03,875 --> 00:22:05,792
{\an1}they could have come
from the Vermeer
511
00:22:05,875 --> 00:22:08,542
{\an1}who was a contemporary
of Rembrandt.
512
00:22:09,500 --> 00:22:10,917
{\an1}- At the end of the day,
513
00:22:11,042 --> 00:22:13,667
{\an1}we don't know where Youngworth
procured these paint chips.
514
00:22:13,750 --> 00:22:15,417
{\an1}All we know is that
they don't match
515
00:22:15,542 --> 00:22:17,708
{\an1}Rembrandt's "Storm on
the Sea of Galilee."
516
00:22:18,750 --> 00:22:21,042
{\an1}- The officials from the Gardner
Museum were left wondering
517
00:22:21,125 --> 00:22:23,417
{\an1}whether or not investigators
could have done more
518
00:22:23,417 --> 00:22:25,542
{\an1}in terms of the comparison
of the chips that were found
519
00:22:25,625 --> 00:22:27,875
{\an1}and have to ask,
was this possible
520
00:22:27,958 --> 00:22:31,333
{\an1}that Youngworth did in
fact have the Rembrandt?
521
00:22:31,375 --> 00:22:33,708
{\an1}- [Laurence] Neither Youngworth
nor Connor are charged
522
00:22:33,833 --> 00:22:35,750
{\an1}in the Gardner case,
523
00:22:35,833 --> 00:22:38,417
{\an1}but Connor claims he
has info to share.
524
00:22:39,875 --> 00:22:42,417
{\an1}- He said he thought about
robbing the Gardner Museum.
525
00:22:42,542 --> 00:22:44,333
{\an1}He also said he never did it it,
526
00:22:44,375 --> 00:22:46,000
{\an1}but he did say he
thinks he knows who did.
527
00:22:50,375 --> 00:22:52,500
{\an1}- The Gardner Museum Heist
is a high stakes crime,
528
00:22:52,542 --> 00:22:54,000
{\an1}but not a violent one.
529
00:22:54,083 --> 00:22:55,542
{\an1}The thieves get in and out
530
00:22:55,542 --> 00:22:57,917
{\an1}without shedding a
single drop of blood.
531
00:22:58,000 --> 00:23:00,125
{\an1}But as the FBI goes hunting
532
00:23:00,208 --> 00:23:02,708
{\an1}for suspects in
Boston's underworld,
533
00:23:02,833 --> 00:23:05,375
{\an1}they start to realize
that a fortune
534
00:23:05,500 --> 00:23:08,125
{\an1}that big may be
worth killing over.
535
00:23:09,458 --> 00:23:11,833
{\an1}- Boston in the '90s is one
536
00:23:11,875 --> 00:23:15,375
{\an1}where organized crime
continues to be rampant.
537
00:23:15,500 --> 00:23:18,083
{\an1}And with organized
crime also come
538
00:23:18,167 --> 00:23:21,000
{\an1}law enforcement informants
working with law enforcement
539
00:23:21,042 --> 00:23:24,625
{\an1}to help them solve crimes and
gain leniency on the crimes
540
00:23:24,708 --> 00:23:26,083
{\an1}that they themselves
are committing.
541
00:23:26,208 --> 00:23:29,083
{\an1}- [Laurence] Notorious art thief
Myles Connor is no stranger
542
00:23:29,167 --> 00:23:31,125
{\an1}to making deals with the FBI.
543
00:23:31,208 --> 00:23:35,625
{\an1}And he points them to a
dizzying new array of suspects.
544
00:23:35,708 --> 00:23:37,625
{\an1}- Now, in around 1991,
545
00:23:37,708 --> 00:23:39,542
{\an1}he hears that connections
546
00:23:39,625 --> 00:23:41,500
{\an1}that he has within the
mob are going around,
547
00:23:41,583 --> 00:23:43,875
{\an1}bragging about having
committed the Gardner Heist
548
00:23:44,000 --> 00:23:44,917
{\an1}without him.
549
00:23:48,417 --> 00:23:51,250
{\an1}- While in prison, Myles
Connor states today
550
00:23:51,333 --> 00:23:52,917
{\an1}that he was visited
by an old friend
551
00:23:53,000 --> 00:23:55,667
{\an1}who introduced him
to Robert Donati.
552
00:23:55,708 --> 00:23:58,292
{\an1}Now, Robert Donati
was a soldier,
553
00:23:58,375 --> 00:24:02,083
{\an1}a worker with the
patriarchal mafia family
554
00:24:02,167 --> 00:24:04,000
{\an1}out of New England.
555
00:24:04,083 --> 00:24:05,833
{\an1}- Back in 1974, Connor says
556
00:24:05,917 --> 00:24:08,000
{\an1}that he cased out
the Gardner Museum
557
00:24:08,083 --> 00:24:09,625
{\an1}with Robert Donati.
558
00:24:09,708 --> 00:24:12,000
{\an1}Didn't actually follow
through with the break in.
559
00:24:12,083 --> 00:24:13,542
{\an1}Later in jail,
560
00:24:13,625 --> 00:24:15,542
{\an1}he finds out that Donati
actually went ahead
561
00:24:15,625 --> 00:24:17,667
{\an1}and robbed the museum
anyway without him.
562
00:24:17,708 --> 00:24:21,417
{\an1}- [Laurence] And Donati hasn't
been especially discreet.
563
00:24:21,500 --> 00:24:23,167
{\an1}- Bobby Donati is
going around town,
564
00:24:23,250 --> 00:24:25,417
{\an1}bragging about having
committed the Gardner Heist
565
00:24:25,500 --> 00:24:27,667
{\an1}and having buried the paintings.
566
00:24:27,750 --> 00:24:30,500
{\an1}The speculation is
that Donati is planning
567
00:24:30,542 --> 00:24:33,417
{\an1}to ransom the paintings
back to law enforcement
568
00:24:33,500 --> 00:24:36,667
{\an1}to help free a fellow mobster.
569
00:24:36,750 --> 00:24:37,792
{\an1}- He wasn't doing it for money.
570
00:24:37,875 --> 00:24:39,708
{\an1}He was doing it for a friend.
571
00:24:39,792 --> 00:24:43,000
{\an1}Donati, I guess, believed that
if he stole these paintings,
572
00:24:43,083 --> 00:24:44,375
{\an1}maybe he could make a deal
573
00:24:44,458 --> 00:24:47,125
{\an1}to try to get this
friend's sentence reduced.
574
00:24:48,333 --> 00:24:49,833
{\an1}- With Donati, there's
another red flag.
575
00:24:49,917 --> 00:24:51,792
{\an1}He was caught with
police paraphernalia.
576
00:24:51,875 --> 00:24:54,667
{\an1}That's another connection
to the Gardner case.
577
00:24:54,750 --> 00:24:56,667
{\an1}- [Laurence] In
1991, about a year
578
00:24:56,708 --> 00:24:58,458
{\an1}after the Gardner Heist,
579
00:24:58,542 --> 00:25:00,917
{\an1}Robert Donati disappears.
580
00:25:01,000 --> 00:25:03,667
{\an1}- Robert Donati was found
in the trunk of his car.
581
00:25:03,750 --> 00:25:05,542
{\an1}His throat was
slashed so deeply,
582
00:25:05,625 --> 00:25:07,583
{\an1}he was almost decapitated.
583
00:25:07,708 --> 00:25:09,667
{\an1}- There was a gang war going on.
584
00:25:09,708 --> 00:25:11,958
{\an1}Was he assassinated
because of the gang war
585
00:25:12,042 --> 00:25:14,625
{\an1}or was he assassinated
because he knew something
586
00:25:14,708 --> 00:25:16,500
{\an1}about the Gardner Museum
587
00:25:16,583 --> 00:25:19,375
{\an1}and he had the art
in his possession?
588
00:25:19,458 --> 00:25:21,792
{\an1}- It's silly to think
that beyond a robbery,
589
00:25:21,875 --> 00:25:25,917
{\an1}that this could now also
be tied to a murder.
590
00:25:25,917 --> 00:25:28,083
{\an1}- [Laurence] After
the hit on Donati,
591
00:25:28,167 --> 00:25:30,875
{\an1}the FBI scours any
properties attached to him,
592
00:25:30,958 --> 00:25:34,458
{\an1}but never finds any
of the Gardner works.
593
00:25:34,542 --> 00:25:36,250
{\an1}- He could have put
those paintings anywhere.
594
00:25:36,333 --> 00:25:38,708
{\an1}I mean, these guys had safe
houses all over the place
595
00:25:38,792 --> 00:25:40,542
{\an1}and perhaps the knowledge
596
00:25:40,625 --> 00:25:43,000
{\an1}of where he put
them died with him.
597
00:25:43,125 --> 00:25:46,500
{\an1}- Donati may very well have
stashed some of those paintings.
598
00:25:46,583 --> 00:25:48,000
{\an1}And if what he said was true,
599
00:25:48,042 --> 00:25:50,875
{\an1}then the location of those
paintings died with him.
600
00:25:50,958 --> 00:25:53,500
{\an1}Now, there've been rumors of
a painting showing up here
601
00:25:53,583 --> 00:25:54,875
{\an1}and a painting showing up there,
602
00:25:54,958 --> 00:25:57,000
{\an1}but every time law
enforcement tries
603
00:25:57,042 --> 00:26:00,500
{\an1}to follow up on those leads,
they come up with nothing.
604
00:26:00,583 --> 00:26:03,167
{\an1}- [Laurence] But Donati's
death doesn't stop the FBI
605
00:26:03,292 --> 00:26:07,375
{\an1}from investigating more
Boston crime family members.
606
00:26:07,458 --> 00:26:09,750
{\an1}The trail leads next to a friend
607
00:26:09,833 --> 00:26:12,500
{\an1}of Donati named Bobby Gentile.
608
00:26:12,583 --> 00:26:14,000
{\an1}- Bobby Gentile was friends
609
00:26:14,125 --> 00:26:17,000
{\an1}with a lot of different
Boston area mobsters.
610
00:26:17,125 --> 00:26:18,000
{\an1}He knew Bobby Donati.
611
00:26:18,083 --> 00:26:19,667
{\an1}He knew a lot of
these characters.
612
00:26:19,792 --> 00:26:22,250
{\an1}And it's believed
that at some point,
613
00:26:22,333 --> 00:26:25,500
{\an1}he took possession of at
least two of these paintings.
614
00:26:25,583 --> 00:26:28,125
{\an1}So a federal judge
authorizes a search warrant
615
00:26:28,208 --> 00:26:29,708
{\an1}for Bobby Gentile's home.
616
00:26:29,792 --> 00:26:33,750
{\an1}And inside Gentile's house
is a list of all the items
617
00:26:33,833 --> 00:26:35,625
{\an1}that have been stolen
from the Gardner Museum
618
00:26:35,708 --> 00:26:38,083
{\an1}with little price
points on them.
619
00:26:38,167 --> 00:26:41,417
{\an1}And next to the price points
is the Boston Herald article
620
00:26:41,542 --> 00:26:43,458
{\an1}from the day after the theft.
621
00:26:43,542 --> 00:26:45,792
{\an1}So after Gentile's
house is raided,
622
00:26:45,875 --> 00:26:47,958
{\an1}he of course, remains a suspect.
623
00:26:48,042 --> 00:26:50,292
{\an1}- The investigation on
Gentile remained open
624
00:26:50,375 --> 00:26:51,875
{\an1}for three years.
625
00:26:51,958 --> 00:26:55,583
{\an1}He ultimately sold a gun
to an undercover FBI agent.
626
00:26:55,667 --> 00:26:57,750
{\an1}He received a five-year sentence
627
00:26:57,833 --> 00:27:00,500
{\an1}for a felony possession
of a firearm.
628
00:27:00,583 --> 00:27:02,750
{\an1}The FBI tried to flip him,
629
00:27:02,750 --> 00:27:05,833
{\an1}tried to get him to come in
and talk about the paintings
630
00:27:05,875 --> 00:27:07,875
{\an1}that he supposedly had,
631
00:27:07,958 --> 00:27:09,542
{\an1}but he never would
speak about it.
632
00:27:09,542 --> 00:27:11,417
{\an1}Robert Gentile never
admitted anything
633
00:27:11,500 --> 00:27:12,500
{\an1}to do with the Gardner Heist.
634
00:27:12,667 --> 00:27:14,667
{\an1}He did his time, got
out of jail in 2019
635
00:27:14,750 --> 00:27:17,208
{\an1}and died in 2021
at the age of 85.
636
00:27:18,667 --> 00:27:22,208
{\an1}- [Laurence] In 2013, while
Gentile is still alive,
637
00:27:22,333 --> 00:27:25,500
{\an1}tips from the FBI informants
point investigators
638
00:27:25,583 --> 00:27:27,917
{\an1}to other members
of organized crime,
639
00:27:28,000 --> 00:27:31,333
{\an1}a pair of low level gangsters
named George Reissfelder
640
00:27:31,417 --> 00:27:32,875
{\an1}and Leonard Dimuzio.
641
00:27:34,708 --> 00:27:37,833
{\an1}- Both Reissfelder and
Dimuzio appear similar
642
00:27:37,875 --> 00:27:41,667
{\an1}to the early sketches of
the two police officers,
643
00:27:41,708 --> 00:27:43,750
{\an1}and they also have long
rap sheets of theft
644
00:27:43,875 --> 00:27:47,000
{\an1}and other sorts of violent
crime in the Boston area.
645
00:27:47,042 --> 00:27:49,458
{\an1}- The FBI did background
investigations.
646
00:27:49,458 --> 00:27:51,750
{\an1}And they were successful in
getting some of the relatives
647
00:27:51,833 --> 00:27:54,083
{\an1}of Reissfelder to talk to them.
648
00:27:54,167 --> 00:27:55,750
{\an1}- During the background
investigation
649
00:27:55,875 --> 00:27:57,083
{\an1}of George Reissfelder,
650
00:27:57,167 --> 00:27:59,500
{\an1}they sit down with
his brother Richard.
651
00:27:59,625 --> 00:28:01,708
{\an1}They show him a picture book,
652
00:28:01,792 --> 00:28:04,375
{\an1}and he immediately pointed
to the "Chez Tortoni"
653
00:28:04,458 --> 00:28:07,000
{\an1}and he said, "Hey,
I've seen that.
654
00:28:07,083 --> 00:28:08,917
{\an1}It was in my
brother's apartment."
655
00:28:11,042 --> 00:28:13,583
{\an1}- So in addition to
Reissfelder being mobbed up,
656
00:28:13,667 --> 00:28:16,167
{\an1}as they say, he was also
linked to the robbery
657
00:28:16,292 --> 00:28:18,250
{\an1}or the possession of
one of the paintings.
658
00:28:18,333 --> 00:28:19,833
{\an1}- [Laurence] But soon,
the investigation
659
00:28:19,875 --> 00:28:22,250
{\an1}hits a familiar snag.
660
00:28:22,333 --> 00:28:23,917
{\an1}- Reissfelder meets
an untimely death.
661
00:28:24,042 --> 00:28:26,292
{\an1}He dies of a cocaine overdose.
662
00:28:27,333 --> 00:28:30,333
{\an1}Investigators go to his home,
they look for the painting.
663
00:28:30,417 --> 00:28:31,417
{\an1}They find nothing.
664
00:28:32,625 --> 00:28:34,667
{\an1}- Shortly after George
Reissfelder died,
665
00:28:34,792 --> 00:28:36,667
{\an1}his longtime criminal partner,
666
00:28:36,750 --> 00:28:38,917
{\an1}Leonard Dimuzio, he disappeared.
667
00:28:39,000 --> 00:28:40,458
{\an1}And then a few months later,
668
00:28:40,542 --> 00:28:42,333
{\an1}he was found dead as well.
669
00:28:42,417 --> 00:28:46,542
{\an1}- [Laurence] Four possible
suspects all turning up dead,
670
00:28:46,625 --> 00:28:49,042
{\an1}just as investigators close in.
671
00:28:49,042 --> 00:28:52,792
{\an1}To some, it seems like
more than a coincidence.
672
00:28:52,875 --> 00:28:55,583
{\an1}- There were many mafia
members who were associated,
673
00:28:55,667 --> 00:28:58,125
{\an1}involved around
the Gardner Heist,
674
00:28:58,208 --> 00:29:00,000
{\an1}and it would be in
their best interest
675
00:29:00,125 --> 00:29:03,417
{\an1}to not speak on
that criminality.
676
00:29:03,500 --> 00:29:04,708
{\an1}Bad things could happen
677
00:29:04,792 --> 00:29:06,917
{\an1}if they shared information
that they know.
678
00:29:07,875 --> 00:29:10,417
{\an1}- The silence wasn't
necessarily surprising.
679
00:29:10,500 --> 00:29:12,167
{\an1}That's a part of mob culture.
680
00:29:12,250 --> 00:29:14,875
{\an1}But if we speculate about
where the paintings could be,
681
00:29:14,958 --> 00:29:16,000
{\an1}they could be anywhere.
682
00:29:16,125 --> 00:29:17,125
{\an1}They could be buried
in the ground,
683
00:29:17,208 --> 00:29:18,458
{\an1}they could be in a storage unit.
684
00:29:18,542 --> 00:29:20,000
{\an1}They could be in
somebody's house
685
00:29:20,042 --> 00:29:21,458
{\an1}or on a boat somewhere.
686
00:29:21,542 --> 00:29:22,375
{\an1}We never know.
687
00:29:26,375 --> 00:29:27,917
{\an1}- [Laurence] Much of the
Gardner Heist investigation has
688
00:29:28,000 --> 00:29:30,333
{\an1}focused on the thieves
who stole the artwork
689
00:29:30,375 --> 00:29:31,875
{\an1}from the building.
690
00:29:31,958 --> 00:29:34,042
{\an1}But where did the
paintings go next?
691
00:29:34,125 --> 00:29:38,000
{\an1}And who would have the power
and the money to buy them?
692
00:29:38,000 --> 00:29:40,500
{\an1}- There's a few things that
really bother investigators
693
00:29:40,542 --> 00:29:41,875
{\an1}and myself about this case.
694
00:29:42,000 --> 00:29:43,833
{\an1}The paintings that were taken
695
00:29:43,875 --> 00:29:47,042
{\an1}and all of the artwork that
were taken are so famous
696
00:29:47,125 --> 00:29:48,750
{\an1}that they could never be sold.
697
00:29:50,208 --> 00:29:53,292
{\an1}- You can't just walk into
an auction house hopefully
698
00:29:53,375 --> 00:29:55,917
{\an1}and put up one of these
works for auction.
699
00:29:56,042 --> 00:29:58,625
{\an1}- It's hotter than
hot, it's white hot.
700
00:29:58,708 --> 00:30:01,375
{\an1}It's so famous,
it's so valuable,
701
00:30:01,458 --> 00:30:03,667
{\an1}and it's so reported on.
702
00:30:03,708 --> 00:30:05,292
{\an1}I mean, this was a story
703
00:30:05,375 --> 00:30:08,667
{\an1}that made headlines
across the globe.
704
00:30:08,792 --> 00:30:10,333
{\an1}- Generally,
artwork is recovered
705
00:30:10,375 --> 00:30:13,208
{\an1}when there's a death and
someone contacts authorities
706
00:30:13,292 --> 00:30:15,167
{\an1}to say that they
found something,
707
00:30:15,208 --> 00:30:18,542
{\an1}or it's recovered in the midst
of another investigation.
708
00:30:19,833 --> 00:30:21,917
{\an1}- [Laurence] In 2017,
709
00:30:21,917 --> 00:30:24,292
{\an1}the Gardner Museum
doubles its reward,
710
00:30:24,375 --> 00:30:26,958
{\an1}but no new leads emerge.
711
00:30:27,042 --> 00:30:29,958
{\an1}- Despite the fact that
it's a $10 million reward,
712
00:30:30,042 --> 00:30:32,167
{\an1}no one has come forth
with any information
713
00:30:32,292 --> 00:30:34,792
{\an1}that has led to the recovery
of any of the works.
714
00:30:36,250 --> 00:30:38,042
{\an1}It's pretty puzzling
to think about
715
00:30:38,167 --> 00:30:40,792
{\an1}why the works that were
stolen were actually taken
716
00:30:40,875 --> 00:30:44,042
{\an1}and more expensive
works were left behind.
717
00:30:44,125 --> 00:30:46,250
{\an1}- The thieves, we
know, spent about
718
00:30:46,333 --> 00:30:48,000
{\an1}81 minutes moving
systematically
719
00:30:48,083 --> 00:30:49,833
{\an1}through both the Dutch
room and the Short Room,
720
00:30:49,875 --> 00:30:52,792
{\an1}removing what some have
described as a laundry list
721
00:30:52,875 --> 00:30:55,042
{\an1}or shopping list of artworks.
722
00:30:55,125 --> 00:30:56,708
{\an1}- Although some of the paintings
723
00:30:56,792 --> 00:30:57,917
{\an1}that were taken
were masterpieces,
724
00:30:58,000 --> 00:30:59,958
{\an1}unique pieces that
can't be reproduced
725
00:31:00,042 --> 00:31:01,833
{\an1}or should be recovered,
726
00:31:01,917 --> 00:31:04,083
{\an1}there were some pieces that
were not that valuable.
727
00:31:04,167 --> 00:31:06,625
{\an1}The Degas sketches
were not that valuable.
728
00:31:06,708 --> 00:31:08,292
{\an1}The Finial off of the flag,
729
00:31:08,375 --> 00:31:11,833
{\an1}the Napoleonic regimental
flag, was valuable,
730
00:31:11,875 --> 00:31:14,833
{\an1}but not to the point
of these paintings.
731
00:31:14,917 --> 00:31:17,083
{\an1}- So there wasn't a
lot of rhyme or reason
732
00:31:17,167 --> 00:31:18,500
{\an1}for some of the thefts.
733
00:31:18,583 --> 00:31:20,917
{\an1}The most expensive
painting there was Titian.
734
00:31:21,000 --> 00:31:23,958
{\an1}But the Titian, "The Rape
of Europa" is massive.
735
00:31:24,042 --> 00:31:26,958
{\an1}So you couldn't really walk
that out of the museum.
736
00:31:27,042 --> 00:31:29,250
{\an1}- They avoided Titian's
"Rape of Europa,"
737
00:31:29,333 --> 00:31:31,125
{\an1}but they took Vermeer's
"The Concert,"
738
00:31:31,208 --> 00:31:33,292
{\an1}and some of these
smaller works on paper,
739
00:31:33,375 --> 00:31:36,417
{\an1}suggesting that there was a
plan as to what would be taken.
740
00:31:36,500 --> 00:31:39,958
{\an1}- [Laurence] Investigators
begin to shape a new theory.
741
00:31:41,083 --> 00:31:44,667
{\an1}- The art market itself
is full of collectors
742
00:31:44,792 --> 00:31:48,542
{\an1}whose sole purpose
is to acquire works
743
00:31:48,667 --> 00:31:50,875
{\an1}that they then keep in their
own private collections,
744
00:31:50,958 --> 00:31:53,000
{\an1}which are essentially
the private storage
745
00:31:53,042 --> 00:31:54,875
{\an1}for wealthy collectors.
746
00:31:54,958 --> 00:31:56,583
{\an1}And we don't have
any way to track
747
00:31:56,667 --> 00:31:58,125
{\an1}what's traded and sold there.
748
00:31:59,083 --> 00:32:00,917
{\an1}- That person would
have to be very wealthy,
749
00:32:01,042 --> 00:32:02,375
{\an1}tied to the black market,
750
00:32:03,375 --> 00:32:07,500
{\an1}very well-versed in how
the art market functions,
751
00:32:07,542 --> 00:32:10,875
{\an1}very well-versed in how the
museum market functions.
752
00:32:14,875 --> 00:32:16,125
{\an1}Taken together,
753
00:32:16,125 --> 00:32:18,667
{\an1}the works really
present as a hodgepodge.
754
00:32:18,792 --> 00:32:21,917
{\an1}But if you consider that the
thieves may have been working
755
00:32:22,000 --> 00:32:24,500
{\an1}from a private
collector's shopping list
756
00:32:24,625 --> 00:32:28,208
{\an1}who had holes in his or
her collection to fill,
757
00:32:28,292 --> 00:32:31,375
{\an1}and you consider the market
value of the works together too,
758
00:32:31,500 --> 00:32:35,042
{\an1}it makes that shopping list
theory much more plausible.
759
00:32:36,292 --> 00:32:37,917
{\an1}- Not only would this require
760
00:32:38,000 --> 00:32:40,000
{\an1}spending hundreds of
thousands, if not millions,
761
00:32:40,042 --> 00:32:43,792
{\an1}on ordering, smuggling,
transportation, and storage,
762
00:32:43,875 --> 00:32:46,333
{\an1}you also have the idea of,
why aren't they just spending
763
00:32:46,375 --> 00:32:48,500
{\an1}that much money on
the legitimate market?
764
00:32:49,542 --> 00:32:52,375
{\an1}- At the time, Anne Hawley,
director of the Garden Museum,
765
00:32:52,458 --> 00:32:54,958
{\an1}believed that someone had
come up with a personal list
766
00:32:55,042 --> 00:32:56,958
{\an1}of things that they
wanted to steal
767
00:32:57,042 --> 00:33:00,000
{\an1}that really they never had
any intention of selling.
768
00:33:00,083 --> 00:33:01,292
{\an1}This was a list of things
769
00:33:01,375 --> 00:33:03,833
{\an1}that this person really
just wanted to possess
770
00:33:03,917 --> 00:33:05,792
{\an1}and enjoy for themselves.
771
00:33:05,875 --> 00:33:08,208
{\an1}- So if someone is collecting
772
00:33:08,292 --> 00:33:11,833
{\an1}and prizing these works for
their own personal viewing,
773
00:33:11,917 --> 00:33:14,083
{\an1}that requires a lot
of storage space
774
00:33:14,167 --> 00:33:15,625
{\an1}and a lot of secrecy.
775
00:33:15,708 --> 00:33:19,333
{\an1}- [Laurence] There are some
suspects that fit the profile.
776
00:33:19,375 --> 00:33:21,333
{\an1}- So in 2013,
777
00:33:21,458 --> 00:33:23,875
{\an1}Pablo Picasso's stepdaughters
reported a couple
778
00:33:23,958 --> 00:33:26,125
{\an1}of pieces missing
from their collection.
779
00:33:26,208 --> 00:33:29,583
{\an1}Turns out, they were
sold by a Swiss dealer
780
00:33:29,667 --> 00:33:31,333
{\an1}to a Russian oligarch.
781
00:33:31,417 --> 00:33:33,833
{\an1}- Ultimately, a
dealer was charged
782
00:33:33,917 --> 00:33:35,375
{\an1}with handling the stolen goods
783
00:33:35,458 --> 00:33:37,583
{\an1}and selling them on to
the Russian collector
784
00:33:37,667 --> 00:33:41,125
{\an1}who eventually returned the
works to the Picasso family.
785
00:33:41,208 --> 00:33:44,375
{\an1}- This is one of the most
frustrating theories of them all
786
00:33:44,458 --> 00:33:47,000
{\an1}because it forces
us to just wait
787
00:33:47,083 --> 00:33:49,833
{\an1}to see if someone slips
up on the black market
788
00:33:49,875 --> 00:33:51,750
{\an1}or on the open market.
789
00:33:51,833 --> 00:33:54,583
{\an1}- Anybody looking to
purchase these items has got
790
00:33:54,667 --> 00:33:58,000
{\an1}to understand that they
can't really show them off.
791
00:33:58,042 --> 00:34:00,500
{\an1}You start talking at
your Christmas party
792
00:34:00,583 --> 00:34:02,708
{\an1}about your Vermeer,
the word will get out.
793
00:34:02,792 --> 00:34:07,042
{\an1}So if anybody wanted to
purchase them after the fact,
794
00:34:07,125 --> 00:34:08,917
{\an1}it had to be somebody
who just wanted
795
00:34:09,042 --> 00:34:11,167
{\an1}to look at them for
himself or herself.
796
00:34:11,292 --> 00:34:13,375
{\an1}And that's why they
probably have had
797
00:34:13,458 --> 00:34:14,542
{\an1}difficulty getting
rid of the items.
798
00:34:19,375 --> 00:34:21,167
{\an1}- [Laurence] The Gardner
Museum Heist has always had
799
00:34:21,250 --> 00:34:23,208
{\an1}an air of sophistication
about it,
800
00:34:23,292 --> 00:34:25,875
{\an1}but there may be even
more layers to this crime
801
00:34:25,958 --> 00:34:28,125
{\an1}than investigators
first thought.
802
00:34:28,208 --> 00:34:30,125
{\an1}- The Gardner Museum
investigation
803
00:34:30,208 --> 00:34:31,542
{\an1}is still an open case,
804
00:34:31,625 --> 00:34:33,792
{\an1}and even though the statute
of limitations has run
805
00:34:33,875 --> 00:34:35,333
{\an1}on the theft,
806
00:34:35,458 --> 00:34:38,625
{\an1}the statute of limitations
has not run on the possession
807
00:34:38,708 --> 00:34:40,375
{\an1}of the artwork itself.
808
00:34:40,458 --> 00:34:41,917
{\an1}Authorities are still trying
809
00:34:42,000 --> 00:34:44,167
{\an1}to find the stolen
items for sure.
810
00:34:44,250 --> 00:34:45,708
{\an1}They're still
interviewing people.
811
00:34:45,708 --> 00:34:47,208
{\an1}They're still following leads.
812
00:34:47,292 --> 00:34:50,333
{\an1}They're still using traditional
law enforcement techniques.
813
00:34:50,375 --> 00:34:52,625
{\an1}So it's an ongoing
investigation.
814
00:34:52,708 --> 00:34:55,167
{\an1}- If the paintings are
safe, who has them?
815
00:34:55,208 --> 00:34:57,583
{\an1}Where are they and why?
816
00:34:57,708 --> 00:35:01,750
{\an1}- [Laurence] The answer may
be hiding across the Atlantic.
817
00:35:01,833 --> 00:35:03,667
{\an1}- There were a lot of
Boston Irish individuals
818
00:35:03,750 --> 00:35:07,375
{\an1}who were sympathetic to the
IRA, Irish Republican Army,
819
00:35:07,542 --> 00:35:10,292
{\an1}which at the time
was in deep conflict
820
00:35:10,375 --> 00:35:12,125
{\an1}with the British Army
in Northern Ireland
821
00:35:12,208 --> 00:35:14,083
{\an1}and was looking
for independence.
822
00:35:18,125 --> 00:35:20,167
{\an1}- The Irish Republican
Army, the IRA,
823
00:35:20,250 --> 00:35:22,583
{\an1}was in fact a violent
group fighting
824
00:35:22,708 --> 00:35:26,833
{\an1}for what they viewed as Irish
Freedom and uniting Ireland.
825
00:35:26,958 --> 00:35:30,625
{\an1}And for many years, they
used any tactics necessary,
826
00:35:30,708 --> 00:35:33,833
{\an1}whether it was bombings
or kidnappings or murders.
827
00:35:33,875 --> 00:35:35,292
{\an1}- And a lot of the criminals
828
00:35:35,375 --> 00:35:38,625
{\an1}in Boston were
funneling money, arms,
829
00:35:38,708 --> 00:35:40,875
{\an1}anything they could to
try to help the cause.
830
00:35:40,958 --> 00:35:43,833
{\an1}So some individuals thought
that it was possible
831
00:35:43,875 --> 00:35:45,792
{\an1}that the IRA may
have been involved
832
00:35:45,875 --> 00:35:47,417
{\an1}in the theft of the paintings.
833
00:35:47,500 --> 00:35:49,833
{\an1}- The 13 artworks
themselves would be used
834
00:35:49,875 --> 00:35:54,958
{\an1}to barter in order to gain money
and weapons for the IRA efforts.
835
00:35:55,042 --> 00:35:58,000
{\an1}- [Laurence] The chief proponent
of this theory is Arthur Brand,
836
00:35:58,083 --> 00:36:00,000
{\an1}a Dutch private
investigator known
837
00:36:00,125 --> 00:36:03,333
{\an1}as the Indiana Jones
of the art world.
838
00:36:03,375 --> 00:36:06,208
{\an1}- Renowned art detective
Arthur Brand is known
839
00:36:06,292 --> 00:36:09,208
{\an1}for recovering artworks
for governments,
840
00:36:09,292 --> 00:36:12,708
{\an1}as well as recovering things
like a $25 million Picasso
841
00:36:12,833 --> 00:36:14,167
{\an1}from a yacht.
842
00:36:14,250 --> 00:36:17,500
{\an1}He believes that the paintings
themselves are located
843
00:36:17,583 --> 00:36:19,542
{\an1}in Ireland, having
been taken there
844
00:36:19,625 --> 00:36:22,000
{\an1}after being smuggled
out of the United States
845
00:36:22,083 --> 00:36:25,833
{\an1}in an effort to raise money
for the cause of the IRA.
846
00:36:25,875 --> 00:36:29,750
{\an1}- [Laurence] The IRA has been
linked to art theft before.
847
00:36:29,833 --> 00:36:32,875
{\an1}- They broke into
Sir Alfred Bates home
848
00:36:32,958 --> 00:36:35,542
{\an1}where they stole 19 works,
including a Vermeer.
849
00:36:35,667 --> 00:36:39,333
{\an1}That Vermeer today is valued
by some at around $100 million.
850
00:36:39,417 --> 00:36:42,667
{\an1}These works they
attempted to use to barter
851
00:36:42,792 --> 00:36:46,583
{\an1}for the freedom of some
of their IRA compatriots.
852
00:36:46,667 --> 00:36:48,625
{\an1}- We're gonna try
to ransom them back
853
00:36:48,625 --> 00:36:50,958
{\an1}to the insurance company
or whoever would pay them.
854
00:36:51,042 --> 00:36:53,167
{\an1}- [Laurence] Authorities
foiled the plot
855
00:36:53,250 --> 00:36:56,167
{\an1}and the paintings were
retrieved within weeks.
856
00:36:56,250 --> 00:36:59,000
{\an1}But there has never
been an overt IRA demand
857
00:36:59,083 --> 00:37:00,458
{\an1}over the Gardner paintings
858
00:37:00,542 --> 00:37:03,500
{\an1}and that makes investigators
doubt Brand's theory.
859
00:37:04,625 --> 00:37:06,708
{\an1}- There's no indication the
IRA ever had these paintings.
860
00:37:06,833 --> 00:37:09,000
{\an1}They've never come forward
to try to get a ransom.
861
00:37:09,083 --> 00:37:11,125
{\an1}Remember, there's a
$10 million reward.
862
00:37:11,208 --> 00:37:13,000
{\an1}If they were trying
to fund something,
863
00:37:13,083 --> 00:37:14,667
{\an1}they would've gotten the reward.
864
00:37:14,750 --> 00:37:17,958
{\an1}- Where is the IRA going to
be exchanging these works
865
00:37:17,958 --> 00:37:19,167
{\an1}to get money in arms?
866
00:37:19,250 --> 00:37:21,125
{\an1}It's most likely not
going to be in Ireland,
867
00:37:21,208 --> 00:37:22,583
{\an1}which means then
they're going to have
868
00:37:22,667 --> 00:37:26,125
{\an1}to smuggle the 13 most
well-known works in the world
869
00:37:26,208 --> 00:37:28,167
{\an1}at the time off an island
870
00:37:28,292 --> 00:37:30,333
{\an1}onto someplace like
mainland Europe
871
00:37:30,417 --> 00:37:32,667
{\an1}without getting
caught a second time.
872
00:37:32,708 --> 00:37:35,458
{\an1}- [Laurence] Some think
the key link was one
873
00:37:35,542 --> 00:37:39,083
{\an1}of the biggest mob figures
in the northeast at the time.
874
00:37:39,167 --> 00:37:42,042
{\an1}- James Whitey
Bulger is the leader
875
00:37:42,125 --> 00:37:45,167
{\an1}of the Irish gang in
Boston in the '80s
876
00:37:45,292 --> 00:37:47,042
{\an1}and the early '90s.
877
00:37:47,125 --> 00:37:49,667
{\an1}And he became one of
the most powerful,
878
00:37:49,708 --> 00:37:52,833
{\an1}if not the most powerful
criminal in Boston.
879
00:37:52,875 --> 00:37:56,167
{\an1}They made their money through
extortion, drug dealing,
880
00:37:56,250 --> 00:37:59,000
{\an1}gambling, murder,
whatever it took.
881
00:37:59,125 --> 00:38:00,750
{\an1}- In addition to
being a criminal,
882
00:38:00,833 --> 00:38:02,708
{\an1}Bulger's a long
time FBI informant.
883
00:38:02,792 --> 00:38:04,917
{\an1}So you think if he
did know something,
884
00:38:05,042 --> 00:38:06,417
{\an1}he'd say something.
885
00:38:06,500 --> 00:38:09,167
{\an1}In Boston, if anybody stole
as much as a candy bar,
886
00:38:09,292 --> 00:38:10,583
{\an1}Bulger's gonna know about it.
887
00:38:10,583 --> 00:38:12,167
{\an1}So he's a prime candidate
888
00:38:12,208 --> 00:38:14,625
{\an1}to have information
about the Gardner Heist.
889
00:38:15,667 --> 00:38:18,083
{\an1}- [Laurence] But there was never
any evidence connecting Bulger
890
00:38:18,167 --> 00:38:19,625
{\an1}to the crime itself.
891
00:38:19,708 --> 00:38:22,833
{\an1}- In 1995, 5 years after
the Gardner Heist,
892
00:38:22,875 --> 00:38:25,250
{\an1}he's charged with the
whole slew of crimes
893
00:38:25,375 --> 00:38:27,375
{\an1}related to racketeering, murder,
894
00:38:27,500 --> 00:38:29,417
{\an1}extortion, drug dealing,
895
00:38:29,500 --> 00:38:32,000
{\an1}all sorts of very
serious offenses.
896
00:38:32,042 --> 00:38:34,083
{\an1}And Bulger goes on the run.
897
00:38:34,208 --> 00:38:39,000
{\an1}And ultimately, he gets caught
in the summer of 2011,
898
00:38:39,000 --> 00:38:43,250
{\an1}16 years after he fled Boston,
in Santa Monica, California.
899
00:38:43,375 --> 00:38:46,000
{\an1}- Whitey Bulger was
convicted of several crimes
900
00:38:46,125 --> 00:38:48,167
{\an1}which included 11 murders.
901
00:38:48,208 --> 00:38:50,542
{\an1}He was given ultimately
two life sentences
902
00:38:50,667 --> 00:38:52,542
{\an1}and charged with racketeering.
903
00:38:53,542 --> 00:38:55,500
{\an1}- Not only was he a
very savvy criminal,
904
00:38:55,583 --> 00:38:57,375
{\an1}but he was getting tipped
off by corrupt members
905
00:38:57,458 --> 00:38:58,542
{\an1}of the FBI.
906
00:38:58,625 --> 00:39:00,042
{\an1}So when he went into prison,
907
00:39:00,125 --> 00:39:02,167
{\an1}that of course,
made him a target.
908
00:39:02,208 --> 00:39:03,333
{\an1}- During his time in prison,
909
00:39:03,375 --> 00:39:05,500
{\an1}Bulger began to
fear for his life.
910
00:39:05,625 --> 00:39:07,583
{\an1}- [Laurence] If Bulger
was willing to exchange
911
00:39:07,667 --> 00:39:09,375
{\an1}information about
the Gardner Heist
912
00:39:09,500 --> 00:39:13,167
{\an1}to ensure his safety, he
never had the chance.
913
00:39:13,208 --> 00:39:16,083
{\an1}In 2018, without
a deal in place,
914
00:39:16,167 --> 00:39:18,417
{\an1}Bulger is murdered in prison.
915
00:39:18,542 --> 00:39:19,917
{\an1}- Some believe that they know
916
00:39:20,000 --> 00:39:21,958
{\an1}what Bulger may have
revealed to the FBI.
917
00:39:22,042 --> 00:39:23,208
{\an1}Given that it's known
918
00:39:23,333 --> 00:39:25,958
{\an1}he shipped arms and
drugs to the IRA.
919
00:39:26,042 --> 00:39:28,500
{\an1}- Now that Bulger has been
beaten to death in prison,
920
00:39:28,542 --> 00:39:31,167
{\an1}there's no way to confirm
anything from him.
921
00:39:31,292 --> 00:39:33,167
{\an1}But up until the day he died,
922
00:39:33,250 --> 00:39:34,917
{\an1}he never gave any indication
923
00:39:35,042 --> 00:39:39,208
{\an1}that he knew where Gardner
Museum's artwork was.
924
00:39:39,292 --> 00:39:41,417
{\an1}- [Laurence] Investigators
like Arthur Brand
925
00:39:41,542 --> 00:39:44,583
{\an1}are still scouring Europe for
any sign of the paintings,
926
00:39:44,667 --> 00:39:47,167
{\an1}but so far, nothing's turned up.
927
00:39:47,250 --> 00:39:49,708
{\an1}- This artwork
belongs in Boston.
928
00:39:49,792 --> 00:39:51,167
{\an1}Hopefully someday,
they'll be back
929
00:39:51,167 --> 00:39:54,042
{\an1}hanging in the Gardner
Museum for all of us to see.
930
00:39:54,125 --> 00:39:56,167
{\an1}- There's always gonna be
a reminder of this heist,
931
00:39:56,292 --> 00:39:57,792
{\an1}even after 33 years,
932
00:39:57,875 --> 00:40:00,000
{\an1}because of the will
Isabella Stewart Gardner
933
00:40:00,083 --> 00:40:01,542
{\an1}left when she died.
934
00:40:01,625 --> 00:40:03,167
{\an1}It states that nothing
can be changed,
935
00:40:03,250 --> 00:40:04,917
{\an1}nothing can be moved
in the museum.
936
00:40:05,042 --> 00:40:06,542
{\an1}So if you go today,
937
00:40:06,625 --> 00:40:09,042
{\an1}you're gonna see empty frames
where the paintings were.
938
00:40:10,292 --> 00:40:11,750
{\an1}- We won't become
a world class city
939
00:40:11,833 --> 00:40:13,667
{\an1}until we get our artwork back.
940
00:40:13,750 --> 00:40:16,333
{\an1}You can see those empty
frames, they're heartbreaking.
941
00:40:16,417 --> 00:40:18,375
{\an1}You walk into the
Dutch Room now,
942
00:40:18,458 --> 00:40:21,167
{\an1}it's like walking the
first person at a wake,
943
00:40:21,250 --> 00:40:22,875
{\an1}sadness, loss.
944
00:40:24,042 --> 00:40:25,750
{\an1}And that's a loss for Boston.
945
00:40:29,542 --> 00:40:31,458
{\an1}- More than three
decades have passed
946
00:40:31,542 --> 00:40:33,833
{\an1}since 13 works of
art were stolen
947
00:40:33,875 --> 00:40:36,292
{\an1}from the Gardner
Museum in Boston.
948
00:40:36,292 --> 00:40:38,708
{\an1}So far, not a single
one has surfaced,
949
00:40:38,792 --> 00:40:42,750
{\an1}denying the art world some
of its greatest treasures.
950
00:40:42,833 --> 00:40:45,875
{\an1}But with that $10 million
reward still out there,
951
00:40:45,875 --> 00:40:48,583
{\an1}hope remains that
these masterpieces
952
00:40:48,667 --> 00:40:50,583
{\an1}will come home soon.
953
00:40:50,667 --> 00:40:52,458
{\an1}I'm Laurence Fishburne.
954
00:40:52,542 --> 00:40:56,542
{\an1}Thank you for watching
"History's Greatest Mysteries."
104016
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