Original subtitles

It's beautiful.

Sally,

would you mind stepping up here a moment?

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

Oh, come on now, you don't mind

posing with me for a few pictures?

Well, it's not really very fair.

I am the newest member of the board.

And the prettiest.

Surely,

aesthetic reasoning should govern the world of art.

I like the way you talk.

Oh,

Señor Feliciano, Commissioner Stuart McMillan.

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

Mrs. McMillan?

We're ready with the tape now.

Oh, excuse me a moment.

Well, I hope it's correct this time.

I was so embarrassed at that last exhibit.

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

Anybody can make a mistake.

But a lecture on cubism in a whole room

full of British 19th-century landscapes?

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

At great cost to my nervous system, yes.

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

Well, perhaps an explanation of our security system

would benefit your nervous system.

It would indeed.

You see, we have reports saying, that an international

syndicate will attempt to steal the painting.

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

as is this painting.

And right, I'm gonna trigger the alarm.

You see?

Okay, I'm gonna turn it off.

Well,

you were the only one who thought

anybody could make that kind of mistake.

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

It wasn't reported for two months.

Oh,

well, try again.

Here, wait just one second.

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

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

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

- See you at dinner. - Bye, bye.

- Nice to meet you. - Nice meeting you.

Bye, Sally.

It's all set.

- Oh, thank you. - Good luck.

Now, where is it?

- It starts right there. - Okay.

Welcome to the San Francisco Art Museum's

17th annual spring exhibit.

If you will kindly move down the corridor.

Charlie?

Señor Feliciano, this is Sergeant Enright.

How do you do?

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

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

Yes, sir.

We begin our tour there.

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

You will notice the door on your left.

This leads to Gallery B and the collection of

Venetian paintings unrivaled in the United States.

And two men here and here, sir.

And that should certainly do it.

Mm-hmm.

What about the closed-circuit TV cameras?

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

Any chance of someone stealing another masterpiece

while we're so busy guarding the Rembrandt?

Negative, sir.

We've got everything in this museum under surveillance.

And so many men guarding it,

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

We could hold off an armed invasion, sir.

Okay.

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

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

And while we're at it,

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

See if you can bring a smile to my face.

Think she's all right?

She groans like she is.

- Feel that, lady? - Mm-hmm.

That's a gun.

We're gonna take your gag out now.

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

Mm-hmm.

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

Of course I'm not all right.

You want some water?

A little thing for starters, thank you.

Here.

Thank you.

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

Oh, you like that approach?

Then maybe I should ask you...

Would you let me go, please?

Oh, that's cute.

But no go.

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

It's stopping the circulation.

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

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

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

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

Thank you.

Yes?

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

He refuses to identify himself, but insists on talking.

Says it's about Mrs. McMillan.

Okay.

Yes?

Hello, Commissioner.

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

Yes. Who is this?

Oh, so you know where she is, huh?

You better check on that.

And be home at 2:00 pm

And we'll tell you where she is.

Who is this?

June.

Call my wife at the deaf center for children.

Enright, you better get in here right away.

Yes, Commissioner.

We found a tour guide tape

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

And you know what was missing from the place?

An oversized laundry bag.

Just one of your regular oversized laundry bags?

Just one of your regular oversized laundry bags, Mildred,

except Sally is inside.

Yes?

You located your wife yet, Commissioner?

What do you want?

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

Well, guess who does?

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

No.

Well, Commissioner, you're all rattled.

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

I'd like to talk to my wife.

Easy.

Easy. I'll let you talk to her.

But I'm warning you, Commissioner,

if you don't do like we want,

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

Hi, darling.

Sally, you all right?

Fine.

I haven't been so nervous since you proposed.

All for now, Commissioner.

All right. What do you want?

You'll be right there in three hours.

We'll tell you then what your assignment is.

How much are they asking, sir?

They haven't

said yet.

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

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

Trying to psych me out.

What would you say

Mrs. McMillan is worth?

I'd say she's priceless, sir.

And what else have you seen today that's

priceless?

The Rembrandt.

They must figure the

Commissioner of Police could be the only one

to get through maximum security at the museum.

And they figure right.

Well, then give them the Rembrandt.

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

I tried telling that to the Prado.

But, sir,

if that's what they want,

and you don't give it to them,

they might kill her.

Oh, Commissioner.

It's easy, Mildred.

We'll get her back.

Don't worry.

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

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

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

You can't just drink coffee all the time.

- That would be great. - Thanks, Mildred.

Commissioner.

Did Mrs. McMillan say anything that might help

when she talked to you?

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

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

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

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

That's all?

That's it.

It's not much, is it?

No, it isn't, but

I'm convinced she was trying to say

something that would help me locate her.

What did you propose to her?

A new delicatessen.

We were having breakfast.

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

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

You know...

My grandmother used to say that...

If you can propose at breakfast,

you've picked the right girl.

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

I wish I could have known her.

Sally, do you know what I just did?

Pushed away your locks.

I proposed to you.

Proposed what?

To marry me.

Really?

Yeah, really.

Oh, Mac. That's really nice.

I'm so pleased.

Yes, so am I.

Well, I guess we should begin making plans.

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

For getting married. Remember?

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

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

You just barely proposed.

Besides,

you could have any girl in San Francisco.

You probably already have.

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

Are you saying you're not one of them?

Of course I am.

Mac,

my grandmother always used to say,

"Accept no proposals at breakfast."

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

She refused me.

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

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

I mean, this looks like a perfectly ordinary deli.

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

I... I could lose her.

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

Good afternoon, Commissioner.

Sergeant.

You eat here, too?

No, we're here on business, señor.

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

Let me give you some advice.

Just try her pastrami. It's absolutely great.

I happen to be a pastrami connoisseur,

just as Mr. Pennington is an art connoisseur.

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

Law enforcement, I trust.

It's been a pleasure. Good day.

You know, Commissioner,

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

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

That'd be an ideal place to hide somebody.

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

I'll try anything.

Thank you, Sergeant.

It's always good to have you along.

Won't you check, gentlemen Charlie?

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

Do you own this place or something?

Police.

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

I've never done anything wrong in my life.

In fact, I've never done anything.

I'm a bum.

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

Only right now, not too much.

I haven't eaten in two days.

All right, Sergeant, book him.

Yes, sir.

And make sure they keep him at least 24 hours

till he's had a couple of good meals.

Hey, thanks, mister.

Commissioner?

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

We question all personnel, check the guide tapes,

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

And all we came up with

was the tape that sent Mrs. McMillan

to the maintenance room.

Which means we're not getting anywhere.

Not yet, no, sir.

Now,

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

we've got 'em.

Even two minutes,

and we can pinpoint the area.

I thought Sergeant Wilson usually handles this equipment.

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

Last minute?

Mm-hmm.

Oh.

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

with all those men and all that equipment there,

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

That should be my speech, Sergeant.

Or are you in love with her, too?

Well...

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

Yes.

I think you would.

Ooh, those look fantastic.

What are they?

Chocolate meringue.

They're Mrs. McMillan's favorite.

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

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

Did I say that?

Yeah.

Come on.

Excuse me.

Do you mind?

I don't know. What are you doing?

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

that I'd get at these spots for weeks.

First the rug,

and the drapes.

Start the trace.

Yes?

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

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

All right.

I won't waste any time with the trace.

Go on.

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

Well, I have a pretty good idea.

You want the Rembrandt.

Hey, I heard you were bright.

It's nice to have it confirmed.

Be on the corner of Bush and Polk at midnight,

with the painting,

and no tail,

and no bugging devices, Commissioner.

Any slip up on your part,

and you will never see Mrs. McMillan again.

Just a moment.

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

Well, Commissioner, we want the painting,

not your wife.

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

Nice try, but

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

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

Okay.

She's in San Francisco.

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

Prove it.

Let me talk to her.

I told you once, this call's ending.

Then call back at 10:00 p.m.

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

The station signal only reaches San Francisco area.

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

Now, look, Commissioner...

You look!

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

Okay, 10:00 p.m.

Channel 12 in the background.

And no tricks.

I'm warning you, Commissioner.

No tricks.

And one more...

Any luck?

Nothing.

You're pushing them very hard, Commissioner.

What choice do I have?

Where are you going?

To get the painting.

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

They won't get away with it.

We have to go on the assumption they will.

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

Feel free to offer any amount of money.

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

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

They want the Rembrandt.

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

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

Thanks.

It won't be easy.

I can imagine Señor Feliciano's reaction

when we tell him we want to borrow his masterpiece.

Absolutely not.

Out of the question.

There's no choice.

A life is at stake. My wife's.

That is highly regrettable, of course.

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

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

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

To protect the rights and property of the citizens.

The Rembrandt is one of our proudest possessions.

It is not mine to give or to loan.

It belongs to all the people.

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

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

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

What larger view?

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

Commissioner, try to consider

the precedent this would set.

If we agreed to surrender the Rembrandt as ransom,

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

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

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

take this kind of stand.

Señor Feliciano,

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

but you're also a man,

and a woman's life is in danger.

A beautiful young woman,

no painting's worth her life.

No painting's worth any human life.

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

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

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

than a beautiful woman.

I must agree,

in spirit, of course.

But I cannot relinquish the painting.

I'm deeply sorry.

All right.

I'll get Washington on the phone.

I won't take no for an answer.

As you wish, Commissioner.

But I can tell you,

your plight is hopeless.

Yes, Harry, that's right.

I am putting it on a personal basis.

Mac, it's just not possible.

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

Look, in the army, I saved your life.

Now you save mine.

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

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

All right, Mac.

Don't make the call.

But I can't promise anything.

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

Commissioner?

I just wanted to report that everything's been arranged

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

Thank you.

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

Are you all right, sir?

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

I just keep...

going over what he said in my mind.

It suddenly dawned on me that...

There was something else besides his words.

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

In the background.

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

Well, what kind of an animal would make

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

A motor of some kind.

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

Pocketer, pocketer, Pocketer, pocketer.

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

- Yeah. - Pocketer, pocketer,

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

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

That doesn't exactly narrow the field.

No, it doesn't.

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

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

delicatessen and the warehouse across the street.

Yeah, but you see, after Sally hedged,

on my proposal of breakfast, I changed the setting.

I tried again at lunch.

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

Of course I love it.

I adore caviar.

Not to mention the ambiance.

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

Well,

You've had so much experience.

I've had none.

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

Of course I am.

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

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

Well, is that a yes or a no?

I loved breakfast.

I'm adoring lunch.

What are you doing for dinner?

Sorry, but I have to work.

You do?

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

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

The Carson case?

Your hunch was right.

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

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

able to help you on one of your cases?

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

Does that answer your question?

Which question?

Why I want to marry you?

For my brains?

Oh, Mac.

Sally,

I love you.

Look.

I love you.

I wish I could believe that.

I do want to, you know.

We want to search every room in the hotel.

Every room?

And every closet

in every room.

I'll get the manager to accompany you.

Commissioner,

if we don't find Mrs. McMillan here.

If we don't find her here,

we'll check every hotel in San Francisco.

It's the only clue we have.

A hotel.

Yes, sir.

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

Yes, sir.

That concludes this evening's film classic.

Stay tuned for the news, which follows immediately.

Good evening, folks.

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

You come on over,

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

I guarantee it.

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

If you don't, my brother,

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

Come on over this way, folks.

This here is my sales manager.

Now, if you can't outsmart this old boy

and get the best deal in town,

why, you ain't even trying.

Now, just say hello, you got that?

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

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

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

He's sure to ask me that.

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

Why can't I just say hello?

Hurry up and dial. The news is coming.

Oh, a little more to the right now.

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

Use that line over here.

Just a minute.

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

It's there on line one, Commissioner.

Yes?

Commissioner, we got your wife here,

and the TV's on channel 12.

Now, remember,

just hello.

Hello.

Sally, are you all right?

Hello.

- What? - Good evening,

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

6 p.m. news?

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

What kind of a trick is that?

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

Ask your wife.

She's probably not even alive.

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

The deal's off.

- Was set? - Yes.

Good evening, channel 12.

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

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

It is 2 p.m.

Hey, not a bad idea.

Thank you very much for calling.

It was our error.

Sorry.

Good evening, channel 12.

I hope your news is more accurate than your clocks.

Our error. Sorry.

Good evening, channel 12.

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

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

I have to put you on hold.

They've started the trace now, sir.

- Okay, let's go. - Fine.

We have a line free to the newsroom now.

I can connect you.

Thank you for waiting.

It's about time.

Ronald Harris, sir.

Good evening. May I help you?

How can you make such a dumb mistake

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

- We did that? - You sure did.

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

I didn't realize that.

I'm very sorry, sir.

Just a moment.

Miss Wilson.

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

the 6 p.m. news.

Will you?

Please.

We're checking on it right now, sir.

It's the most embarrassing

situation.

Are you sure you heard correctly?

One more minute.

Yes, we did.

I agree completely.

Thank you so much for bringing it to our attention.

I hope you will continue

to watch our newscasts and report on our accuracy.

Tell me,

Are you a regular viewer?

Oh, forget it.

Well, at least we found the area, sir.

Yeah.

North central area, sir.

That's great.

Only ten square miles.

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

What time is it?

Nearly 11.

I have to deliver that painting by midnight.

Any word from Washington?

Nothing.

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

What about the voice graph?

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

How can you make such a dumb mistake

- Listen. - calling the 10 o'clock

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

- What? - In the background.

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

- Just now. - I had rea..

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

What does that sound like to you?

- Pocketer, pocketer.

Me too.

I keep coming back to what Sally said.

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

Wait a minute.

The day I proposed,

there's someone else who knows about that.

Of course she tells me everything.

And I mean everything, Commissioner.

Did she mention the fact she kept refusing me?

Mm-hmm.

- Did she say why? - Mm.

Well, why?

Well, Commissioner, I...

kind of hate to tell you this.

Mildred,

something about the proposal

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

Now, please, tell me everything.

Okay, you asked for it.

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

Because she loved me so much?

And she wanted to make sure

that you loved her as much.

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

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

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

Uh,

- You want it all, Commissioner? - Yeah.

Good.

The Commissioner was the biggest make-out man

in the entire San Francisco area.

Some people said the entire West Coast.

I never said so, but some people did.

No offense, Commissioner.

No offense.

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

and sometimes in the afternoons, too.

We used to read about him in all the society columns

and in some other columns.

And I used to say to Mr. McMillan,

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

- Her name was... - Mildred!

Oh, yeah.

Well,

I would say to Mrs. McMillan,

listen, if worse comes to worse,

you can always get a great divorce.

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

The proposal, Mildred.

What did she say about the proposal?

Well, she said that it took all day

and that she had to pop the question.

Really, Commissioner?

Is that the way you remember it, sir?

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

It must have been.

After 11 when I left.

She was waiting for me in the parking lot.

Good evening.

Well,

this is what I call a real class surprise.

How can you be sure?

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

Hamper?

I thought that was your purse.

You didn't eat dinner, did you?

No.

Not even a lousy sandwich.

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

A lousy sandwich.

I'd love a sandwich.

I'm starved.

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

You call this cooking?

I call it a tuna fish sandwich.

Well, I call it cooking.

Anything I do in the kitchen, I call cooking.

Then you're a great cook,

because it's a great sandwich.

Do you really mean that?

Sure I mean it.

Will you marry me?

Sally, are you sure

I'm the one?

Well,

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

I love you, Mac.

Then what happened?

Really, Sergeant.

We just

drove around,

talked,

made plans.

Well, sir, where did you drive?

I don't know.

We just drove around.

I wasn't paying any attention.

Oh, there's nothing here, Sergeant.

I remember.

It started out this way.

Where were you going?

I don't know. Just...

driving around.

Where to from here, Commissioner?

All over, like I just told you.

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

How will we find her if you drove everywhere?

I don't know.

Maybe what she said wasn't a clue.

Maybe I just wanted it to be.

Maybe she was just nervous.

No, she

wasn't nervous the day I proposed.

I was.

I just can't remember.

Commissioner, I have never seen you like this.

You've never given up before.

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

McMillan.

Washington calling, Commissioner.

What have you got, Harry?

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

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

Also,

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

Or what we're giving away for this.

But you've got a green light.

Harry, you're sensational.

In fact, this phone call never took place.

- And Mac. - Yes.

Good luck.

Thanks, Harry.

Thank you.

Would you hold this for me?

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

Just to stand here and watch.

It was worse on my ulcer than a shootout.

Thank you.

Good night, Commissioner.

Good night.

And good luck, sir.

Thanks.

Yes?

Right on time, Commissioner.

Now go to 8th and Howard for further instructions.

8th and Howard.

I'll take Market Street.

8th and Howard. Got it, Commissioner.

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

Might as well take it. It's free.

The fellow in the corner already paid for it.

Said he was sure you got it.

- Thank you. - You're welcome.

Sending me back to Bush and Polk.

We're with you, Commissioner.

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

But you're doing so well, Commissioner.

Now bring it across the street.

That's right.

The building directly in front of you.

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

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

We're right behind you, Commissioner.

And, sir,

be careful.

Commissioner?

Inside the elevator.

He's in the building.

Why the roof?

No questions, Commissioner.

Just keep your mouth shut, you understand?

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

Just hold it right there.

They should hold your friends for a while.

Let them walk up.

Move.

Look, they've jammed the elevator.

Martin, you stay here.

We're going to have to climb the stairs.

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

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

We've got them trapped.

All right. Now hold it.

Take out the painting.

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

And no bugs.

All right, put it back.

All right.

What about my wife?

Oh, you'll get her back.

Just don't try anything cute, Commissioner.

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

All right, now what?

She coming in on that?

Don't ask me, Commissioner.

I'm a messenger boy, just like you.

The Rembrandt, he's gone.

I got a police helicopter.

You'll never find them in the dark.

Commissioner, you promised you'd keep it safe.

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

More crimes committed against the Spanish government.

We find you guilty.

We interrupt your movie to bring you the latest

on the fast-breaking story of the loss

of a world-famous Rembrandt painting

delivered as ransom to the kidnappers

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

The loss of the Rembrandt has shaken the art world.

Police had planned to recover the painting

once Mrs. McMillan was safely returned,

but the plan was thwarted by the daring helicopter

escape of the kidnappers with the masterpiece.

As yet, Mrs. McMillan has not been released.

The failure of the kidnappers

- to release their victim - Anything?

- has heightened the controversy. - Nothing.

Reaction to the loss of the painting

is already beginning to come in from around the globe.

Via satellite, James Harrison talked to an official

at the Louvre in Paris.

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

will affect the Louvre's policy

of loaning its art treasures to other museums?

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

to review our loan policy.

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

to relinquish one of its masterpieces?

Unthinkable.

Under no circumstances.

To your knowledge, has this ever happened before?

To the best of my knowledge,

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

I see.

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

It is very difficult to answer this sort of question

because we never know when someone

is going to come to the museum

to do something of this sort.

I see. Thank you very much.

You're welcome, I'm sure.

The Spanish government has sent an angry communique to Washington.

But the State Department has yet to make a comment.

Sir William Chamberlain, the noted British art critic,

fears that the incident might set a precedent.

We have his comments now via satellite from London.

The danger,

especially in America,

is that these things tend to become

trends overnight.

And have you ever noticed

how they always seem to originate in America?

Now, why is that?

We take you now to Chester Davis in our remote unit

for an on-the-spot view.

We're talking with Mr. Al Liston

at Johnny's Coffee Shop on 8th Street.

Mr. Liston, are you aware of the ransom demand

being made for Commissioner Stuart MacMillan's wife?

Oh, sure.

Sure, you told me all about it

before you turned on all those lights.

Don't you remember?

Do you think the commissioner was right

to risk a masterpiece?

Does love conquer all?

Oh, buddy.

Are you asking the wrong fellow?

I mean, have you ever met my wife?

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

And that wraps it up from our remote unit.

This is Chester Davis returning you now to our studio.

Thank you, Chester Davis.

Our in-studio guest is

the chairman of the museum board,

Matthew Pennington.

Mr. Pennington, welcome.

What do you think of the commissioner's actions?

He had absolutely no choice.

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

are you concerned that all of this is going to lead

to a series of kidnappings

in exchange for art objects?

As an art collector,

I surely know the value of a masterpiece.

But I've never seen a painting

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

Then you approve of the police commissioner's action.

I not only approve,

I feel it reflects great personal courage.

Thank you, Mr. Pennington.

Other local and international figures,

while sympathizing with the police commissioner's

personal plight,

tend to hold him responsible for losing

one of the world's great masterpieces.

Why punish yourself anymore, commissioner?

Mr. Pennington was right.

You showed great personal courage.

We're going to get her back, sir.

Look, these are very special kidnappers.

Most likely a highly organized

international syndicate.

They didn't want money.

They wanted a painting.

And I think they'll keep their word.

Charlie, you and I have been around kidnappings

too long to kid ourselves.

Mildred.

Do you still have those scrapbooks of yours?

- The one you hate? - Yeah.

Yeah, I'll go get them.

I was just looking at them this morning.

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

But keep an eye on her.

It's almost over.

I just checked on her.

She's sleeping like a pussycat.

Pussycats don't sleep.

They nap.

Yeah, right on time. Good.

Everything Mr. Edgar does is on schedule.

Satisfied?

That's unmarked.

I'm satisfied.

So is Mr. Edgar.

He wants you to release Mrs. McMillan before noon.

Right.

Mr. Edgar wanted me to tell you

what a pleasure it was doing business with you.

It was my pleasure.

He said he may have more business for you soon.

Oh, good.

How do we get in touch with you?

We'll get in touch with you.

Ooh, that is a honey of a shot.

Where was that taken?

I can't remember.

I keep going back to what Sally said.

I haven't been this nervous

since you proposed.

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

What does that mean, Sergeant?

Mildred?

Well, sir, maybe it, uh...

I don't know.

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

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

It's breakfast time anyway.

What did you say?

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

No, no, no, the part about

a plate of food in front of you.

Sally always says that, doesn't she?

Hmm?

Now, wait a minute.

Locks and bagels for breakfast.

Locks, bagels, delicatessen.

No.

Champagne, caviar for lunch.

Tuna fish sandwiches...

for dinner.

Locks,

caviar,

tuna fish?

It's fish!

She smells fish!

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

Better make it the whole coastline, Enright?

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

Yes, sir. Where will you be?

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

Sally and I used to eat there.

Police! Could you take me to the police station?

Yeah, get in, lady.

There's probably two men following me.

Give me the marina port, Captain.

Port Captain's office.

Speaking.

Yes, sir.

New boats?

Just a minute. I'll look and see.

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

especially if you don't know the owners.

I have three that'll fit the bill.

Slip 18, 24, and 27.

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

How'd she get away?

Because I left them with you, you idiot.

Now, this time, tie her up good.

I didn't even see her leave.

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

That means they'll be able to trace us.

Not death, she won't.

Wait a minute. He said not to harm her.

We got no choice now, have we?

Dumb broad.

Hello, Commissioner.

Hi.

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

- How are you? - Good to see you.

Seems quiet enough around here.

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

Charlie, you said nobody ever came here.

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

Hello, I'm Charles Nelson.

Welcome aboard.

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

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

What slip was he using?

Number 27.

That may be your man up ahead.

Harbor Masses is the port captain.

Alert the Coast Guard.

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

We'll need a helicopter and some boats.

Over.

Looks like the harbor police are on our table.

Let's just dump her right now.

This is the Coast Guard.

This is the Coast Guard.

Heed to or we will commence firing.

So I finally realized it was fish.

Why took you so long?

Chocolate meringues.

Boy, do I love them.

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

I know what a nuisance they are.

That's right.

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

I should have mentioned it.

Mmm.

They're still delicious.

Even day-old chocolate meringues

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

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

Mildred,

before you leave,

I was wondering about the drapes.

Now, I love the half you cleaned,

but the other half is looking a little strange.

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

And while we're on the subject, Mildred,

the kitchen cabinets look a little silly.

Half varnished.

Okay.

Okay.

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

I'm afraid she snuck back around it.

I love her just the way she is.

I love you, too.

It's good to be here.

Mac.

Mac.

Why wouldn't anybody want to steal a masterpiece?

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

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

it all by himself.

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

Well, a very

selfish one.

Either the kidnappers had a buyer for the painting or

a private collector had it planned right from the beginning.

Where would he be able to enjoy it?

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

Well, he'd need a private place.

Very private.

A place he'd

have to have built.

Since it was announced that the Rembrandt

was going to be shown here.

Poor Señor Feliciano.

The whole thing was his responsibility.

He really loved that painting.

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

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

I asked the same question, Mr. Farrar.

You got the information I asked for?

Yes, sir.

Every blueprint,

permit,

building contract in the file.

Right where the marker is.

There you are, Sergeant.

A wine cellar?

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

I'm afraid no one is up yet.

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

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

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

We have no wine cellar.

Well, you may call it by another name.

In fact, I'm sure you do.

But Atlas Construction, who built it,

lists it as a wine cellar.

No one's allowed down there.

You know,

your master expects too much of his servants.

Don't you guys have a union?

Hello, Mac.

Matthew.

How did you figure it out?

I knew the thief had to be an art lover.

Could have been anyone, anywhere.

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

That meant it had to be a friend.

Breathtaking, isn't it?

Yes, it is.

I haven't slept all night.

Who could?

You know,

it's sad.

Unfair, really.

You can have all the money in the world,

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

The masterpieces that museums so love to hoard.

Yes.

Outrageous, isn't it?

In a museum, anybody can enjoy a masterpiece.

Not have to pay for the privilege.

But I was willing to pay.

You will.

Breathtaking, isn't it?

Mm-hmm.

Still, I can't help feeling sad.

Matthew worked so hard to make it all possible.

I wish he could see all these people enjoying it.

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

I suppose you're right.

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

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

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

I'm a little like that myself.

Still, I can't help wondering

what it would be like to own a masterpiece.

To have it in your own home all the time.

Why not ask the man who owns one?

Mm-hmm.

I don't think kisses are allowed in here.

Oh, sure.

Kisses are.

I think we'd better leave.