All language subtitles for The Bionic Woman S02E20 The DeJon Caper 1080p BluRay FLAC2 0 H 264-BTN (1)_track5_[eng]

[Oscar] That's "Master Hare," by Reynolds,

and the other is called
"Religious Subject,"

from the school of Morello.

I remember these paintings
from the Lincoln Gallery,

here in Washington, hm?

What you see there, Jaime,

and what millions of tourists
and students have seen for the past year,

national treasures of this country,
are fakes.

- Frauds.
- That's amazing.

Like, this forger is a genius.

Well, you might call him that.

Along with several less
flattering descriptions.

Send him in.

Monsieur, perhaps you can clear up
this terrible mistake.

I am Jacques Le Roi,
a wine merchant from Bordeaux.

[Oscar] Jaime,
this is Pierre-Francois Lambert,

a mediocre painter in his own right,

but an extraordinary forger
and all-around fraud.

Monsieur--Mademoiselle--

Please listen to me.

- I told you, my name is--
- [Oscar] Sit on it, Pierre.

The French Surete reports that
two fakes that are hanging in the Louvre

were also done in his style.

They don't know how the switch
was made or where the originals are now.

But they are convinced that
Pierre works for this man,

Michael Beaumont.

One of the top master criminals,

American, on the continent.

He's into everything--drugs,
espionage, stock manipulation.

We and the French Surete have
been after him for years,

but we haven't been able
to catch him.

And you can help us, Pierre.

Mademoiselle, I appeal to you.

How can I convince you I'm not this--

What's-his-name?

Pierre, when something quacks
like a duck, looks like a duck,

flies like a duck, and walks like a duck,

I have to consider the possibility that
it is a duck.

Your fingerprints match
those of Lambert.

Your description matches Lambert.

The birthmark on your shoulder
is exactly like his.

So you see in what direction
my suspicions are heading.

Now you've got two choices, pal.

20 years in a federal
penitentiary, or help us trap

Beaumont and recover
the original paintings.

Take your choice.

I'm a free spirit,
and prison would kill me.

But so will Beaumont,
if he catches me.

I came to this country to hide.

I--I was in the middle of forging a DeJon.

Beaumont had promised to steal
the original

for one of his customers.

Ah, eh, not that my copies
are not brilliant, but, uh,

everyone runs out of luck some time.

And when his schemes turn sour,
he has a nasty habit of

killing all those involved
so there's

no one left to testify.

Well, if you'll help us get him,

you won't have to worry about that,
will you?

This DeJon that you're painting,

who gets the original?

Some customer.
I was never told his name.

The original is still
in the Rousseau Memorial Museum.

Miss Sommers is one
of our best agents.

I want you to go back to Paris with her.

Contact Beaumont, tell him that
you're willing to finish the painting,

and we'll catch him when he tries
to switch it for the originals.

I don't think I could pull it off.

You don't know him.
He's a shark among men.

Pierre.

I know that, uh,

landscapes aren't necessarily
your specialty, but, uh,

what do you think of that?

I think it's morbidly depressing.

Isn't that Folsom Prison?

In time, so to speak,
it will grow on you.

You'll enjoy Paris, Miss Sommers.

I know all the best restaurants.

Get him out of here.

Watch out. He's slippery.

He'll disappear the first chance he gets.

- Okay. Bye.
- Hey.

Be careful.

[theme music]

[Pierre] What's your plan?

[Jaime] I think you should call Beaumont
and arrange a meeting,

and I'll just go as your girlfriend
or your friend or whatever.

[Pierre] That might work.

He knows I'm adored by
beautiful women.

Can we call from my apartment?

I'll tell him I'm just tired of running.

[Jaime] Okay.
Where's your apartment?

[Pierre] Place Victor Hugo, Driver.

No, left! Left!
Take a left.

[tires squeal]

Now keep going.

Keep going. That's right.

Now take another left.

Now, pull up here and stop.
Right here.

[Jaime] Uh, what--what is it?
What's going on?

You see the man back there
in front of the gallery?

That's Jacques Rochette,
one of Beaumont's hirelings.

He's an art critic of undeserved
reputation.

Beaumont uses him to authenticate
the paintings to his customers.

He mustn't see me.

Pay the driver.

Get that bag, please?

[car motors away]

[Jaime] It's okay.
I don't think he noticed us.

Whew.

At least I'm home safe.

Pierre, isn't--isn't the Place Victor Hugo
around the corner?

Oh.

You were very quick to pick
up my clever ruse.

Beaumont has spies everywhere.

You keep watching Rochette.

I'll get my key from the concierge.

Pierre.

One moment.

[knocks lightly]

[Pierre] Come on.

Here we are.

Humble, but home.

Humble?
Pierre, I'm afraid you're too modest.

Oh, just one of my virtues.

- Oh--
- No, no, no, no.

No light.

Beaumont's men may see it.

Well.
Heh-heh-heh.

Ah.

Heh, make yourself at home?

Pierre, this isn't exactly
what I'd expected for you.

I kind of expected something more,
I don't know, bohemian, or--

If you mean sloppy,

our working together does not give
you the right to insult

or constantly suspect me.

Well, your reputation does.

[sigh]

Yes, well, perhaps I do deserve that.

You must be tired.
Would you like to freshen up?

It's, uh, too dangerous
to go out to eat.

I'll fix something here.
Later, we can call Beaumont.

Okay. I would like to wash my face.
Thank you.

D'accord.

Bye.

[key turning in lock]

[door closes]

Pierre, what are you doing?

- I beg your par--
- [gasp]

- Oh!
- [Jaime] Who are you?

La la la!

Never mind who I am.

What are you doing
in my apartment?

- Your apartment?
- [man] Certainly.

I've lived here for almost 20 years.

Ah. You called me Pierre.

Was that pig here?

Oh, well, you do know him then.

Well, certainly I know
Pierre Damain.

He's my brother-in-law.

No, no, no.

And my money helped
to buy his butcher shop.

Wait, that--that's not him.

Oh, ho, ho.

He won't get away with it this time.

No. You stay right here, young lady,
while I ring the woman

whose home you are wrecking.

Wait a minute.
I--I--I don't know that man.

Heh-heh-heh.

Why will you all lie for him?

What does a lovely young thing like you
see in a pig like him?

A butcher. Oh, ho.

No.
It must be the smell of raw meat.

Allo, Allo.

[speaking French]

Is Pierre there? Hunh?

Well, I'm not surprised he's sleeping.

He must be exhausted
from a little tete-a-tete

he has been having with the coquette
in my apartment.

Now wait a minute.

You are hanging a bum rap on that guy.

That--y--y--your
brother-in-law and my friend

are not the same person.

I mean, they obviously just
have the same name.

Huh?

Oh, he says he's tired out
with dressing chickens all day?

[Jaime] Will you please listen to me?

Oh, my dear sister, he's worn
out from chasing one chicken.

I'm certain, yes.

Well, she called his name
when she thought

he was coming back.

Don't believe what he says.

You wake that philanderer up.

[footsteps outside]

Oh, ho, aha, oui.
c'est ca, oui.

Hit him again for me.

Oui. Bon, bon.

Encore une fois.

Alors, adieu.

Oh, listen, it was very nice meeting you,
and I sure hope everything else works out.

- Wait, one moment.
- Bye.

I've something to say to you.

You forget about him,
home wrecker.

Find someone else to dally with, eh?

Whew.

Heh, heh, heh.

- Hi.
- Oh!

- Wha--
- Oh, what's wrong?

Didn't you invite me
to you apartment?

Well, uh, yes I did, but, uh--

Well, isn't this your apartment?

Uh, uh, y--yes it is.

- Oh, good.

I was beginning to wonder.

Uh, what are you doing?

Well, I'm going to call Oscar Goldman
and have him come get you.

No, wait. Please.

No, you must understand my fears.

Beaumont is so powerful.

He could order me killed
even from prison.

Well, you're just going to have to trust
that the OSI

is not going to let that happen,
aren't you, Pierre?

Now what's it going to be?

I'll cooperate.
I won't try to escape again.

Fine.

We'll call him in the morning
and set up an appointment.

Oh!

To fool him, you must dress the part.

He knows what kind of, uh,
women I use for models.

Here.

You'll wear this.

What is that?

Oh, it's just something
the cleaning woman left.

Oh.

Make your phone call.

Are you really that scared?

How dare you?

I've had enough of your
insinuations of cowardice.

I'll show you who's scared.

Heh-heh. Scared.

Ahem.

Beaumont.

This is Pierre.

Listen, you small-time phony.

I'm willing to use my inspired talent
to finish the DeJon,

but only on my conditions.

I will not tolerate any more
of your ridiculous suggestions

about my work,
or your childish attempts at intimidation.

[woman] And forty seconds.

[beep]

At the tone, the time will be--

Pierre, will you quit playing around?

Now call Beaumont.

- How did you know?
- Never mind.

Now listen, if I can wear this get-up,
you can call Beaumont.

The shipment leaves
the Turkish poppy fields tomorrow.

I want it processed by next week.

Rencrain?

I promised to deliver the blueprints
for the new German tank by the first.

- Hallo?
- When can you get it to me?

Good.

It is Lambert.

[Beaumont] Pierre, old friend.

How nice to hear from you.

Where are you?

Beaumont, I--I surrender.

I'll do anything you want.

That's very sensible, Pierre.

Can we meet and talk it over?

I thought perhaps the little sidewalk café
near my apartment.

I'll be having breakfast there with my--

With my girlfriend.

I know the place.
Thank you for calling.

Why not meet him here?

No.
A public place is better.

I can judge his reactions.

Then if I think he's not
sincerely forgiving me,

I can call the gendarmes.

One trick.

One little trick,

and I promise you,
I'm going to call Goldman.

Jaime, don't you trust me?

Does a chicken have lips?

Excuse me.

Where are you going?

To the room of the gentlemen,
if you don't mind.

There is the door.
There is no window.

And obviously no back door to such places.

Excuse me.

Police, s'il vous plait.

[wolf whistle]

Hallo, Sergeant?

This is the manager of the Bon Chance café
on Place Victor Hugo.

No, no, Sergeant,
I am not fine this morning.

I have a lady of the evening
sitting at one of my front tables,

bold as brass, enticing all my customers.

Kck-kck-kck.

No, no, no. It's not necessary for me
to point her out.

You know very well how that
kind of woman dresses.

Now get here and take her
to jail immediately.

Oui.

Ah.

Allons-y.

Wh-what are you doing, please?

As if you did not know.

Stop giving the place a bad name.
Alors.

Wait, you don't seem to understand.

It's not the way it looks.

[police] Come along, come along.

[Jaime] Yeah, I am not, uh,
what you think I am.

[police] All you girls say that.

[Jaime] Oh, now please.

I am an agent with the American OSI,

and I'm working
with the French Secret Service.

Look, here's--here's my ID card.

Now I'm--I'm working on a case
with a fellow in this restaurant

who's probably getting
away right now.

Well, we--we'll have to verify this.

Well, verify it, fine.

But do it quickly, because if you don't,

you'll both be in a lot of trouble,
I promise you that.

All right.

Drive around the back
and we'll pick up Pierre.

He may as well finish that DeJon
before I finish him.

But no, she--she showed
me the identification.

I'm sorry, I--

Oui.

Immediately.

He wishes to talk to you.

- Hello?
- Jaime, you all right, babe?

I'm fine.
Listen, Oscar, I can't talk right now.

Pierre's getting away,
and I'll call you just as soon as

I find him, all right?

Yes, but have you found
the original--

Thank you very much.

Jaime!

[dial tone]

I wish she wouldn't do that.

Come on, Pierre.

But where are we going?

You'll find out.

Let's go.

Taxi!

Follow that car, please.

Go.

It's good to see you, Michel.

I've missed you too, Pierre.

You look well.

Oh, I'm fine, fine.

That's wonderful.

Good health is so important.

You said you were going
to take your girlfriend to breakfast.

What happened to her?

Oh, uh, we had a stupid
lover's quarrel.

She--she walked out of the restaurant.
Heh.

I was looking for her
when you found me.

Heh-heh.

That's why I didn't want
to come with you when I first saw you.

Heh-heh-heh, you romantic artists.

Always putting love first.

Heh-heh-heh.

[Beaumont] I'm sure she loves you, too.

Enough to follow you
to the very end.

Oh, heh-heh.

The end of what?

Who can tell?

The future is always
such a mystery.

Your little workshop
is just like you left it.

You do have a talent.

Hurry and finish it.

I have two customers bidding
on the original.

I want to make the switch
as soon as possible.

It's too bad your girlfriend
didn't come along.

I know how a model inspires you,
even when you're copying.

Oh, well.

Something will turn up, I'm sure.

The OSI agent is headed toward
the house now.

Is anyone else with her?

No.

It's possible she didn't have time
to tell anyone.

Shall I dispose of her?

That will come later.

Bring her here.

[man] Do not move.

That way, please.

Get Moreau on the phone.

- Welcome.
- Thank you.

Miss Sommers.

How did you know my name?

From Pierre, of course.

He told me everything
on the way here.

If you've depended on him,
I'm afraid you've leaned on a weak reed.

Operator, person-to-person,
please.

Alfredo Moreau aboard
the yacht "Sapphire Seas," Cannes Harbor.

[phone ringing]

Hello?

This is Moreau.

Bon jour, Don Alfredo.

I have excellent news, sir.

I could deliver the DeJon
in the next few days.

[sonar pinging]

[Moreau] Ah, that
is very good news, Michel.

Uh, unfortunately,
there's a small complication.

The Greek shipping tycoon,
Nicholas Theopolis,

has just married a young Swedish girl,

and he's looking for an appropriate
wedding gift for her.

Now as you know,
his art collection almost rivals yours,

and he's made a very attractive offer
for the DeJon.

Hm.

Are you maneuvering me into
an auction, Michel?

Of course not, Don Alfredo.

But as a businessman,
it's my duty to accept the best offer.

Well, I, uh, I may be able to come up
in price,

if I get the painting very quickly.

And that way I won't
have you killed.

Is that satisfactory?

[laughs nervously]

You're a very persuasive bargainer,
Don Alfredo.

And naturally, I was only joking.

The DeJon will be yours
within two days.

Enjoy.

That old Corsican bandit.

He's stealing it.

Did he come up at all?

Let's say he made an offer
I couldn't refuse.

Put her with Pierre.

How did they catch you?

They were waiting for me.

And Beaumont said that you
told him all about me.

He's such a liar.

He's so cruel, he enjoys
toying with people.

What difference does
it make anyway?

My future's never been so gloomy.

If I don't finish the painting,
he'll kill me.

If I do finish it, he'll kill me anyway.

Even if we escape, I'll spend
the rest of my life hiding

from him in your prison.

Until he kills me.

Well, if things are that bad,
they can only get better, right?

You want to bet?

Pierre, who is Alfredo Moreau?

Ah, he's the Corsican Godfather.

More powerful than a king.

Even Beaumont must treat
him most carefully.

Ah! Finit!

Enough.

I'm tired of compromising
my talent.

I'm going to tell Beaumont
I won't finish the painting.

Yes, that is what I'll do.

It's a small victory,
but it's something.

I won't finish it.

Oh, yes, you will finish it.

What?

And you're going to do a perfect job,
except for one small mistake.

- Mistake?
- Yes.

Well, uh, my reputation--

Anyone will know instantly
it's a forgery.

Pierre, if we can psych Beaumont out,

get him really scared,

then he might just
confess to all of his activities.

Beaumont is not scared of the Surete
or the OSI.

You said yourself he is
afraid of this Corsican Godfather,

- or whatever he is.
- Yeah.

Now what have you got to lose?
They're going to kill you anyway.

Now is there anything
at all that I can do to help you here?

Well, ah--

Jaime, will you model for me?

Why--why do you--why do you
need a model if you're just

doing a copy?

It's hard to explain, but,

well, the things that I copy
are masterpieces

because the masters
breathed life into them.

The paintings live.

Beyond just my technique,
the brushstrokes, the color--

When I have a model,

I have a sense of what the master saw.

It would help me.

Pierre, you're a trip. Okay.

Now I'll be out in a minute.
You get back to work.

Bon.

But how are we going to get
Moreau mad at Beaumont?

[Jaime] Well, I'm working on that one.

You just keep painting.

Et voila.

Excellent, Pierre.

Your best effort so far.

Do the chemical aging
as fast as possible.

I want to exchange it
for the original tonight.

The paint won't be entirely dry.

My man at the museum will keep
anyone from testing it.

Call Moreau.

Tell him we'll be in Cannes
tomorrow morning.

[sonar pings]

[man] What about Pierre and the girl?

[Beaumont]
We'll dispose of them before we leave.

Jaime, I let you down again.

How?

I knew it was good, even if it was a copy.

I felt it coming alive under my brush.

I--I wanted it perfect. I--

I couldn't bring myself
to put a defect in it.

Don't worry about it, Pierre.

The paint isn't going to be dry, anyway.

I think that's a big enough flaw.

They're going to kill us pretty soon,
so we're going to have to move fast.

So I want you to take
your clothes off.

- What?
- Come on, take your clothes off.

But, uh--

Put my clothes on
your friend here.

Okay?

Uh, what's going on?

[Jaime] I want them to think
that we're both dead.

We're going to throw
her out the window.

But it won't look real.

Beaumont will never believe it.

Oh, he'll believe it when he
sees you falling on top of it.

Me?

Pierre, I'm going to put your clothes on

and let them see you jumping out
the window.

At least they'll think it's you.

You--

Oh!

You'd make that sacrifice for me?

[Jaime] Well,
it's not that big of a sacrifice.

Not that big?

The answer is no.

I know I've been a bum all my life.

All the things people say
about me are true.

But a man must draw the
line somewhere.

I won't let you do it.

Pierre, it's all right.
I won't feel a thing.

Hah! I know.

It will be over in an instant.
Forget it!

Believe me, I will get up
and walk away from it.

Unless they think we're both dead,
they won't leave us alone.

But Jaime, I--

Please, Pierre, do what I say, huh?

They're going to come back
here any minute.

Help me get this manikin dressed,
will you?

The aging is excellent.

Just the right amount of fading
for 100 years.

Put it in the car.

Let's take care of the two upstairs.

Why Pierre?

The Greek still wants a wedding present
for his Swedish bride.

Pierre could paint something else.

He might escape and go
to the OSI again.

No, a smart gambler knows
when to quit.

[Pierre] Beaumont, you filthy pig!

I refuse to take it any longer!

I've prostituted my talent
for the last time, do you understand?

The last time!

Do it again.

More hysterical this time.

More?

You can't hurt us anymore!

We're going together.

[inaudible], and you can't stop us.
Ha-ha!

Oh!

Pierre.

Pierre?

I'll be all right.

What does that idiot Pierre
think he's doing?

Which one of these blasted keys--

Now just do it one more time.

Goodbye, Beaumont, you dog!

I think it is the one
with the round head.

[Beaumont] They all have round heads,
you fool.

Goodbye to you, my darling.

- No one ever loved me so much.
- Okay, get back. Go on.

[Beaumont] Hah!

Oh!

Well, that'll save us
a nasty little chore.

Have the gardener clean up
the mess after we leave.

[sonar pings]

[Beaumont] We mustn't keep Moreau waiting.

Jaime.
Jaime, I wasn't worth it.

Oh, Jaime.

- Oh, my poor Jaime.
- Pierre.

Oh! Mon Dieu!

She's haunting me already.

[Jaime] Pierre.

But--but I saw--

Now forget what you saw.
Do you understand that?

- No, I don't understand anything.
- Well, good.

Okay, you've got to get
some clothes on.

Wh--where are we going?

Rousseau Memorial Museum.

Pierre, which room was the painting in?

It's, uh, gallery number three,
at the corner of the building.

- Okay.
- Jaime, what are we doing here?

Well, I'm trying to work it
so that--so that Beaumont

will deliver the fake
painting to Moreau.

But he's in there now,
switching it for the real painting.

Well, maybe he is,
maybe he isn't.

Listen, in exactly three minutes,
what I want you to do

is throw a rock through one
of these windows, okay?

What for?

Because I'm going to need some confusion,
that's what for.

[Pierre] Confusion?
But I'm already confused.

Jaime.

[metal creaking]

Uh--

Oh, a rock, eh.

[Beaumont] Magnificent.

Please, Pierre, throw it now.
Come on, come on!

A ro--a rock.
Oh, yeah.

A rock. A rock.

All right.

Oh! Oh, no.

Take it down and hang the fake.

Come on, Pierre.

Uh, uh, a rock.

[glass breaking]

What was that?

Sounded like a window breaking.

I know it was a window breaking, you fool.

Maybe the police?

Put it behind the plant.

Right, fan out and see what it was.

[man] Look, I found this,
but I did not see anyone.

Someone threw this through a window.

Ah, it's probably some child.

Let's get on with it.

Get the fake and make the switch.

All right, let's get out of here.

That's how it should be, girl.

You belong to everybody.

[gate hinges squeaking]

[metal creaking]

Okay.

I saw them coming out
with the real painting.

Well, didn't they seem pleased
with themselves?

- Where to now?
- Okay, we're going to Cannes.

And I'd like to get there early
enough to do some shopping.

Shopping? What for?

For something that will make me look
like a Swedish bride, huh?

Let's go.

[Beaumont] Hurry up.

Moreau's expecting us at 10:00 sharp.

[man] You are really fearful of him,
aren't you?

[Beaumont] We must all be very careful
how we treat him.

Alfredo Moreau is an extremely
dangerous man.

He'd kill us with a smile on his face.

Ah, bon jour, Don Alfredo.
I trust you're well?

Ah, this is it?

It's beautiful.

How long I've waited for you, my beauty.

- Monsieur Rochette.
- Oui?

You authenticate this
is the original DeJon?

Oh, I saw it removed from the museum wall
myself, Don Alfredo.

- Hang it for the don.
- No, no.

This is a pleasure I reserve for myself.

A magnificent collection,
Don Alfredo.

You should be very proud.

The word proud cannot
express what I feel.

Oh, that's magnificent.

$1,200,000.

I'm very grateful to you, my friend.

You deserve every penny of it.

Alfredo, your gratitude is, uh,
almost more important than the money.

Hm.

There's more where that came from.

At the museum in Nice,

there's an absolutely magnificent
Toulouse-Lautrec.

Unfortunately, sir, my forger,
Pierre Lambert, had an accident.

He was killed.

I'm afraid it puts me
out of the business.

Pity.

I rather fancied the Lautrec.

Okay. Now when I call for you,
you come run, all right?

All right.

Thank you.

So there you are, you phony fraud.

Who are you?

You will have your turn, Silver locks.

Surprised to see me, are you not?

Did you really think you could
cheat me and get away with it?

Beaumont, who is this woman?

I don't know how she got here,
but her name is Jaime Sommers,

and she's an OSI agent.

Oh.

Must you tell lies about everything?

What is your name, cutie?

Alfredo Moreau.

Oh, how quaint.
Well, I am Mrs. Theopolis.

My husband is Nicholas Theopolis.

- That's not true--
- Yes, the--

The Greek shipping man.

I heard that he married
a very lovely girl from Sweden.

- Thank you.
- As a matter of fact, you told me.

Yes, I did, but she is not--

On what matter of business
are you here?

Well, I have been pursuing
this naughty man.

Don Alfredo, don't listen to her.

- I tell you, she's an agent.
- I--

I will decide that.

Go on, Madame.

Well, my sweet Nicky, he--

He bought a DeJon

as a little wedding present from this man.

- That's not--
- And would you believe it was a forgery?

And such a lousy forgery,

I might say,
that the paint on it wasn't even dry.

Oh.

Well, obviously,
he's done the same to you.

This is just another fake, like mine.

I'm afraid you are mistaken.

That is an original DeJon.

[Jaime] Really?

Well, can you do this
to a genuine original DeJon?

Tsk, tsk.

Naughty, naughty.

Shame on you.

[Moreau] Monsieur Beaumont.

Do not feel too bad,
Monsieur Bordeaux.

Even I would not have known
if the painter hadn't confessed.

Pierre Lambert?

You told me he was dead.

But Don Alfredo,
she is not telling the truth.

Can't you tell the truth
about anything?

Can you?

Pierre, please come in here.

Pierre?

But I saw you jump.

Don Alfredo, I--

I can't explain this, but I--

I've been tricked.

He's been tricked?

Well, my Nicky can't afford
to be made a fool of.

So he will take care
of this riffraff.

Neither can I. Take him below.

Lock him in the cabin.

Prepare for sea.

But Don Alfredo--Don Alfredo,
listen to me, please.

Please!

What do we do with those two?

Well, personally, I think
they would be more useful

alive to discourage others
from ever trying to cheat

people like us again.

Of course.

Get out!

I am very grateful, Madame.

I wish you much happiness
in your marriage.

And please give my warmest
regards to Nicky.

merci, Monsieur.

Au revoir.

Au revoir, Madame.

Come along, my twisted little genius, ah?

Whew!
Thank god that's over.

It isn't, quite.

[pounding]

Let me out of here.

He's gonna kill me!

Beaumont, we still want to get those
other paintings back.

Now I'll get you out of here if
you will agree to testify

against him in court and give us
a full signed confession of

all your activities.

I'll do anything.

Anything you say!

All right. Stand back.

[glass shattering]

Okay?

Come on!

- We did it!
- But of course.

These are the real paintings, right?

Yes.
Beaumont's confession

helped get the original paintings back.

Also put he and Moreau away.

Pierre, you did fine. I'll be right back.

Okay.

What are you going to do now?

Eh, who knows?

I've been so weak.
I've caused so much harm.

I may never take another
brush in my hand again.

- Oh.
- It's all right.

I haven't any real talent, anyway.

Every time I look at the masters,
their genius just defeats me.

Pierre, the masters,

they were just artists doing
their own thing in their own time.

Now van Gogh and--and DeJon,
they never heard themselves

called masters. That all came later.

You've got to give yourself a chance.

I think you're extremely talented.
I really do.

You have that much faith in me?

Yes, I do.

But what's important is that
you have faith in yourself.

That's what's going to get you through.

Maybe I will give it a try.

Great.

Because the next time we see one
of your paintings hanging

in the Louvre, I'd like to see your--your

name on it, you know?

[theme music]