All language subtitles for SUPERCAR - S01 Ep10 - A Little Art

[engine hums]

♪ Supercar

♪ Supercar

♪ With beauty and grace

♪ As swift as can be

♪ Watch it flying
through the air ♪

♪ It travels in space

♪ Or under the sea

♪ And it can journey anywhere

♪ Supercar

♪ Supercar

♪ It travels on land

♪ Or roams the skies

♪ Through a heaven's
stormy rage ♪

♪ It's Mercury-manned

♪ And everyone cries

♪ It's the marvel of the age

♪ Supercar

♪ Supercar

♪ Supercar

[engine blasts]

[mellow music]

- Seven, eight,

10, 12, $1,300,

and all for the sale of a bunch
of vogue or modern paintings

that pass as art. [laughs]

- Value, zero.

- For the genuine Harry
S. Clinesworthy III?

My dear sir.

- Ah, knock it off, Steindorf.

The only thing you
know about art

is scrawling on subway posters.

- Jody.

Jody Mettern.

- In person.

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

- But Jody, what a surprise.

I thought you were--

- You thought I was
still in the state pen.

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

and here I am buying pictures.

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

- So now you know.

I got converted, see?

By your friend and mine,
the late Bud Hassler.

- Hassler?

- Quite an artist, wasn't he?

When it came to
painting dollar bills.

And before he passed
away in the pen,

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

- But he only
painted landscapes.

As a matter of fact, I just
sold one called Mexican Plane.

- You sold Mexican Plane?

- Yes, it surprised me too,

finding someone fool enough
to buy such worthless trash.

- How could you be fool
enough to sell?

- But Jody, I--

- That painting of a
certain Mexican plane

shows the exact spot

where Hassler buried
the counterfeit plates.

- Oh, no.

- I tell ya, yeah.

Now, quick, who bought it?

- A Dr. H. Beaker of Black Rock.

Will he let us have it,
do you suppose?

- He'd better.

Or we may have to play
it another way.

[dramatic music]

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

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

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

but as Mike says, the
gloss is fading.

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

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

Suppose there's an emergency

and here we are waiting
for the paint to dry.

- I wonder, since the
fading is due to

excessive exposure to the
rays of the sun,

perhaps we should try a
filter varnish.

- How would that help,
Professor?

- Well, by cutting out
most of the ultraviolet--

- [Dr. Beaker] I say, Professor,
Mike?

- Yes, Dr. Beaker?

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

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

- Trust Doc, he's been
working on our problem

before we even knew we had one.

- We'll be right there, Doctor.

[comical music]

- Well, now, seriously.

What do you think of it?

[Mitch hoots]

I beg your pardon?

[Mitch hoots]

Oh come now, you're
just saying that.

You need to consider
it as a whole.

Take another look, my dear chap.

Does it not strike you as
a fulfillment?

[Mitch screams]

I must say, Mitch, I
am disappointed in you.

Obviously, you know
nothing about art.

Hey, Mitch?

Mitch?

Bless my soul, he's gone.

- He just lit off after Jimmy.

Have you been scaring him
with your experiments, Doc?

- No.

Just my painting.

- This?

This is your painting?

- Certainly.

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

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

- But wait, stop.

Where are you off to?

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

- Without even looking
at my picture?

And it's a genuine,

where's the signature now?

Yes.

A genuine Hassler.

- Very nice.

- A Hassler, uh-huh, so?

- But have you no soul?

Can you not spare the
time to stand there

and inhale its beauty?

- Oh, I've inhaled okay.

And I think it stinks.

- All right, scoff if you like.

But here in this antiseptic
and mechanical atmosphere,

I intend to keep alight
the beacon of culture.

- Good for you, Doc.

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

[dramatic music]
- Serious?

I'll say it's serious.

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

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

And what do I find?

You sold it.

- But you don't appreciate
the temptation.

Someone with money to spend

and no knowledge of art?
[laughs]

It's a dream come true.

- Well, suppose you
quit dreaming

and think up how we can
get that Hassler back?

- Of course, I'm just
waiting for,

[intercom buzzes]

ah.

The Steindorf Art Galleries.

Steindorf speaks.

- [Woman] The number you
require is Black Rock one.

- One, are you sure?

- [Woman] Repeat,
Black Rock one.

That is the only
subscriber in the area.

- Very well, thank you.

- Maybe he's a hermit
or something.

Anyway, if he lives on
his lonesome,

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

- You mean steal it?

- Now, is that screwed
right down, Jimmy?

It has to be
absolutely airtight.

- I think it's okay, Professor.

- Then let's proceed to test.

Ready to switch on, Mike?

- Switching on now.

Charging nicely.

Are we ready to fire?

- I beg your pardon, Mike?

- Well, you seem to
be running it

like a serious scientific test.

- All right, then.

Firing one now.

Fine, it works!

- As Doc would say,

satisfactory, most satisfactory.

- [laughs] Well, I
think we are ready

to have a go at Supercar.

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

because we have to be sure

of covering every inch of
the paintwork.

[phone rings]

- There's the phone, Professor.

- What, what?

Was it?

Where?

- It's okay, it was Dr.
Beaker's phone.

And don't point that
thing at me, Professor.

It might go off.

[Professor Popkiss laughs]

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

First, you tell me the painting

is worth four times
what I paid you for it.

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

- But you see, I thought
it was a genuine Hassler,

and now I find that
it is a fake.

A mere copy.

- Is he swallowing it?

- I think so.

You paid 90 for it.

I will offer you,

to cover your expenses, say 110?

120?

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

Yes, it's a possibility
it is a fake,

but it must be a very good fake

or it would not command
the price you are asking.

Who knows?

In time, it may be worth
more than a genuine Hassler.

May it not.

- How's it coming along, Mike?

- Okay, Professor.

I've almost finished this side.

- The level in the jar
is right down.

Will you fetch another from
the outside lab, Jimmy?

- Okay, Professor.

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

- That's it, Professor.

We're running dry.

And since we are
taking a breather,

what do you say we go see

what the great art
critic is up to?

- Yes, now the question
we ask ourselves is, why?

Why is Mr. Steindorf so anxious

to regain possession of
this landscape?

I wonder, could it
really be an old master?

An early Van Gogh, perhaps?

- Oh [laughs], I don't think so

because stenciled on the
back of the canvas here,

quite clearly, is the
inscription,

"Supplied by Wedderburn
& Sons, Chicago, 1929."

- Must a got around a bit,
this Van Gogh.

Both in time and space.

[Mitch screams and hoots]

- Well, it may seem humorous,

but it is also curious.

Actually, most curious.

Steindorf must have some
reason for wanting the picture.

- [laughs] Well, perhaps the
canvas has been used before.

Perhaps your Mexican
Plane has been painted

over a Grandma Moses.

- Of course.

Why didn't I think of
that before?

- Come on, Doc, Grandma Moses
wasn't painting in 1929.

- Nevertheless, the professor
has given me an idea.

There may indeed be another
painting beneath this one,

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

we shall discover it.

Now, where did I put my
photographic equipment?

- Might as well leave
him to it, Professor.

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

- So much for your big idea.

Where did it get us?

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

- Yeah, well that's
just the point.

Your offer scared him off.

Anyway, you can save your dough

because we're gonna get
it for nothing.

- You don't still
mean to steal it?

- You got a better idea?

- Are you sure you can do it?

- With you along to identify it,
yeah.

- Me, but Jody, I--

- I've never seen the thing,
remember?

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

Don't flap, it'll be a cinch.

[dramatic music]

- This is not going to be easy.

Makeshift apparatus.

[Mitch hoots and screams]

Infrared plate in camera.

Flood lighting satisfactory.

Developer, fixer.

Are we ready, then?

[Mitch hoots]

In which case,

take one.

[camera snaps]

Ah, very satisfactory.

Most, most satisfactory.

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

- No, no, please.

No, on no account.

No, just a minute.

Ah, now then, what is it, Mike?

- Nothing special, just wondered
how you were getting on.

- But I thought you
weren't interested.

- That was before you
borrowed the spray gun.

- Oh, my dear fellow.

I quite forgot.

You shall have it back
almost immediately.

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

- What for?

- Why, to dissolve away
the top layer of paint

and reveal what is undoubtedly
a masterpiece beneath.

We spray a thin, even solution

over the whole area,

and in the morning, you'll see.

It'll be quite gone.

[suspenseful music]

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

- Yes.

Now, quick.

Take it and let's get
out of here.

Please, before someone wakes.

[comical music]

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

So what do we see?

- Curious.

Most curious.

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

And he was right, too.

Mighty good solvent of yours,
Doc.

I thought just the top layer
was supposed to disappear.

Poor old Doc.

All that's left of his
art collection.

- But why, Mike?

Why should anyone want to
steal a picture like that?

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

You can see where a
knife has cut the canvas.

- Steindorf doesn't reply.

A pity.

I thought that perhaps

he might have thrown a
light on this business.

- Maybe he did the stealing.

- Oh really, Mike.

Steindorf is hardly the
kind of person

to indulge in a felony.

- Well, maybe.

Maybe not.

The only thing is,

it must have been
kind of important

if he went to the trouble
of stealing it.

It must have been something
else about that picture.

Something about that landscape.

Those mountains.

I'll swear I've seen 'em before.

[dramatic music]

- Oh.

Jody, please.

Can we not rest a moment?

I have not had a
moment's relaxation

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

- You can rest when
we get there.

Hey, wait a minute.

Aren't those the mountains?

- [Steindorf] Mountains?

Oh, yes.

Those are mountains.

- I can see that, you fool.

But are they the mountains,
the ones we're looking for?

- Oh, I hope so.

Indeed, I hope so.

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

- I think so, Jimmy.

That's a pretty
distinctive shape

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

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

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

Maybe they'll find
what's going on

if I can find where
it's going on.

- Hassler.

Bud Hassler.

Yes, an artist.

A forger?

Is that the only one
you know of?

Curious, most curious.

But then I suppose a
forger is an artist

in his own peculiar way.

- A forger?

Of course, Doctor.

Hassler, I remember.

It was in the papers

just after I came to this
country in 1929.

- Really?

My colleague appears to
be familiar with the case.

Yes.

Thank you for the information.

Yes, yes.

Nice talking to you.

- And they never found
the plates used.

I wonder, Beaker,

do you suppose that's
what Steindorf is after?

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

- What, Mike?

- Those mountains.

Looks like the Sleeper Range

some 20 miles across the
Mexican border.

We flew over them on
that Amazon trip.

- Ah yes, I remember.

A curious formation

resembling the figure of
a recumbent man.

Hence, the name Sleeper.

- I remember too, Doctor.

I remember it was around
the Mexican border

that Hassler was caught in 1929.

He must have buried the
plates there.

- But where, exactly?

[dramatic music]

- Yeah, this must be the place.

- Oh, thank heaven.

- Not that I've seen it before,

but somehow it's just
as Hassler described it.

- Then we start digging?

- Well, first let's
see the picture.

We gotta know where to dig.

- Well now, the situation
as I see it, gentlemen--

[Mitch hoots and screams]

- Hush, Mitch.

- I beg your pardon?

Gentleman and Mitch,
the situation is this.

Here, we have a sandy desert

purported to resemble
this picture here.

Now, having in mind
that March the 5th, 1929

was, according to the professor,

the date of Hassler's capture
not far from this spot,

and that this is the
only legible date

falling from the calendar here,

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

- So, what is the answer?

- Well, I suggest the
best plan is to

visit the scene of the crime.

We are sure to find some
kind of pointer.

[dramatic chord]

- You see?

That cactus on the left
of the picture.

That's the pointer.

- I see.

Do we dig beneath it?

- Oh no, that would be too easy.

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

so he used the shadow.

- The shadow?

- Yeah.

Now, look.

It falls across the sand there,

shaped like a pointing arm,

and at the time shown on
that watch face,

25 after one,

the shadow hand shows
us where to dig.

- Ingenious.

- Yeah, Hassler was no fool.

So get movin', huh?

I'll wear the canvas
down with sand

so it doesn't blow away,

and you go take a look
around for that cactus.

- What, me?

By myself?

- Division of labor, pal.

I'm saving my strength
for the digging.

- If, let me see now.

They'll be digging there

presumably at the hour
shown in the picture.

Namely, 1325 hours.

- Yeah, and it's
gone 12 already.

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

- Good luck, Dr. Beaker.

[Mitch screams and hoots]

- Ready when you are, Mike.

- [Mike] Hold it, Doc's
just coming aboard.

Steady, there.

Okay, Professor, all set.

- Charging forth, then.

[engines rev]

- Five.

Seven.

Nine.

12,000.

14,000.

15,000.

- All right, interlock on.

Charge starboard.

- Six.

Eight.

11.

13.

14.

15,000, Professor.

- Interlock on.

Fire one.

[engines blast]

- Fire two.

[engines blast]

Firing steadily, Professor.

[mystical music]

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

- Selecting vertical
takeoff now.

[engines hum]

[mystical music]

- Oh, Jody.

Jody!

- You found it?

- Well, no.

I've been right
around in a circle

and the cactus just isn't there.

- What?

- Perhaps it died.

30 years is a long time.

- Don't give me that jazz.

It must be here someplace.

- Pilot to console,
pilot to console.

Do you have our position?

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

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

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

you should hit the spot
with some accuracy.

- Ooh, that was a nasty turn,
Pilot.

In fact, it gave me a
nasty turn, too.

- Sorry, Doc.

But we gotta make time

if we're gonna beat
Steindorf to the plates.

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

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

- What do you mean, Beaker?

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

- The canvas, yes.

But not necessarily the picture.

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

you can't find it with
your own eyes,

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

Clear out the sand and
let's take a look.

- Of course, Jody, right away.

[dramatic music]

No!

Oh, no!

I don't believe it.

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

somewhat to his chagrin,

the effectiveness of my solvent.

- Well, we'll soon know.

Time to lose a little
altitude, I think, Professor.

- Roger, Pilot.

- Well, isn't that just dandy.

First, no cactus and
now no picture.

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

- Of course, it's your fault!

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

we'd still have it
and the plates.

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

- Dig up a whole desert?

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

Me, I'm hitting the
trail for home.

- Oh, you!

Why couldn't you have been a
plain, ordinary fake Rembrandt?

- Console to pilot.

Your altitude is now 4,000.

If you come down another 450,

you'll be the same height
as the Sleeper Range.

- Okay, Professor.

Hang on, Doc, here we go.

[engines roar]

- Wait a moment.

There's the range over there.

About seven, eight miles off.

- [Mike] That's it.

Cutting to half boost.

- If I were you, I would come in

from a slight
southwesterly direction.

That will,

if I may coin a phrase,

put us in the picture.

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

- True, but without that
which they came to seek,

could we find it, do
you suppose?

- Like how, for instance?

- Well, having deduced during
the course of our journey

the meaning of the shadow
at the precise time,

all we have to do is to
simulate a cactus.

- What?

- Simple, my dear fellow.

Let me scrawl a few
calculations,

like the illustrious
Archimedes, on the sand.

Yes.

If the length of the
mountain's shadow

is proportionate to the height,
I think,

ah, satisfactory.

Most satisfactory.

The cactus would have been
about your height, Mike,

so if you would, kindly
stand over there

with your arms just so.

- [sighs] The things I
do for you, Doc.

[dramatic music]

[mystical music]

[cheerful music]

- Are these really
counterfeit plates, Professor?

What are we gonna do with 'em?

- Well, I think the
Treasury Department

would be interested in them,

just as the police will be
interested in Mr. Steindorf.

- Yeah, I don't suppose he'll be

in the painting
business for a while.

Will you be sorry, Doc?

- Not at all.

As a matter of fact, having
observed that photographs

are somewhat more durable
than paintings,

I'm thinking of giving up
art altogether.

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

I commissioned a painting
especially for you.

- Oh, oh really?

What kind of painting?

[comical music]

[Mitch screams]

[Mitch hoots]

Subtitles: Kilo
[engine hums]

[engine blasts]

♪ Supercar

♪ Supercar

♪ With beauty and grace

♪ As swift as can be

♪ Watch it flying
through the air ♪

♪ It travels in space

♪ Or under the sea

♪ And it can journey anywhere

♪ Supercar

♪ Supercar

♪ It travels on land

♪ Or roams the skies

♪ Through a heaven's
stormy rage ♪

♪ It's Mercury-manned

♪ And everyone cries

♪ It's the marvel of the age

♪ Supercar

♪ Supercar

♪ Supercar

[engine blasts]