Mission: Impossible (1988) s02e10 Episode Script

[ horns honking .]
[ tearing .]
- [ footsteps .]
- [ gasps .]
- [ whooshing, thud .]
- [ groans .]
Oh, hello, Judy.
WOMAN: Hi.
Welcome to New York, Minister.
Is it done? It's done.
[ theme music playing .]
WOMAN: Okay, girls.
That's enough for today.
Same time tomorrow, all right? - Thank you.
- See you tomorrow.
I guess it's a long, hard road from beginner to prima ballerina.
Long and painful.
But for those who make it, uh, it has its rewards.
Like premiere danseuse at Covent Garden? Or corps de ballet at Lincoln Center.
PHELPS: Hmm.
Um, our season's programs are on the piano.
GIRL: Hey, I like that.
- GIRL 2: Do you like it? - Uh-huh.
MALE VOICE: Good morning, Jim.
Two nights ago, a priceless painting on loan to the Manhattan Museum of Art was stolen, and a guard murdered in the process.
The painting taken was a national treasure of San Marcos, a state in Central America.
It depicts their patron saint, and has religious and patriotic associations of vast importance to them.
The loss of the painting will be seen as a catastrophe for which the United States will be held to blame.
The man we believe devised the whole plan is the minister for culture, which really means propaganda.
His name is Rafael Ocha.
He is ambitious to gain more power.
The theft itself could be the work of this man, Daniel Travers.
by stealing and dealing art to the underground market.
Your mission, Jim, should you decide to accept it, is to find the stolen Montoya painting and thus preserve the good name of the United States among the people of San Marcos, bring Daniel Travers to justice and restore to the world the masterpieces he has stolen over the years.
As always, should you or any of your IM Force be caught or killed, the Secretary will disavow any knowledge of your actions.
This disc will self-destruct in five seconds.
Good luck, Jim.
[ rapid beeping .]
[ sizzling .]
WOMAN: Taxi! - MAN: Move it, buddy! - WOMAN: No, I know.
I know.
I got it.
Daniel Travers was in San Marcos last month coordinating the exhibition on behalf of the Manhattan Museum of Art.
He's a member of the board.
But he's building up a private collection of stolen art.
Well, we have the blueprints to his hotel.
He lives in the penthouse.
Maybe he has the painting hidden there.
Yeah, we'll try that first, but, uh, when the coast is clear Grant, how's your simulator coming? GRANT: Nearly there.
Now all I'll need is a subject.
Well, Travers will have a favorite artist.
Collectors always do.
My job: To find out.
Ready to make contact? Yes.
The auction's in an hour.
The house has reserved a seat for Travers, as well as me and one of my wealthy investors.
Yes, well, I've hired Shannon to advise me and bid for me.
Mmm, I don't intend on spending a dollar of anyone's money.
We want to leave Mr.
Travers thinking you're in the same game he is dealing in stolen art.
[ gavel banging .]
Good afternoon, ladies and gentlemen.
Thank you for being here this afternoon at Danmeers Auction Rooms.
We begin with this magnificent example of Postimpressionism.
[ crowd applauds .]
I refer you to the catalogue for the prominence of this Picasso landscape, which has been in the owner's family since purchased from the artist himself.
The winning bidder will also acquire the original bill of sale.
MAN: Yo, taxi! Here comes the end of the line.
Can't get any higher without his personal keycard.
I can bypass this.
We don't have time.
Sometimes, the old way is the quickest.
What are you standing around for? GRANT: Come on up.
GRANT: All right, let's roll.
We're in.
Good.
Nicholas reports they've just opened the bidding on the painting Travers wants.
He'll head straight back, so you'll have to move fast.
Two million, two $2,200,000 for Mr.
Rubenstein.
Going once.
Two million, three.
Two million, three for Mr.
Travers in row two.
Two million, three.
Yes, Miss Novak? - $3 million.
- $3 million.
The bid now stands at $3 million.
Three million, two.
Three million, two for Mr.
Travers.
Three million, two is the current bid for this fine example of late Postimpressionism.
$3,500,000.
Three million, five.
The current bid is three million, five.
Any advance on three million, five? Going once.
Going twice.
Three million, eight.
Three million, eight for Mr.
Travers.
Do I have any advance on three million, eight? Going once.
Going twice.
Sold for $3,800,000.
Thank you.
Congratulations.
Very well done, Daniel.
Is she working for you? I just paid way too much.
Miss Novak is a genuine bidder, I can assure you.
Showed me her letters of credit yesterday.
She acts for a bunch of businessmen.
Philistines, investing purely for the money.
Fellow she's with is one.
She just cost me $600,000.
But I like those eyes.
There's nothing in his safe that looks like a painting.
Maybe he sold it.
I'll download the memory in his fax machine.
See who he's been dealing with lately.
Jim, we're coming up empty.
For a guy who loves art, he doesn't keep much around here at all.
He'll have plenty hidden somewhere.
Somewhere else.
Look, we bugged his office.
We'll send you whatever we have in the memory of his fax machine.
Standing by.
Hello, Mr.
Travers.
It's a pity you were here today.
My client really wanted that painting.
So did I.
Maybe we can do business together.
Business? I'd rather we talked pleasure.
The clients that I represent, they're not just interested in what's out there on the market.
They're also interested in what's not out there.
I don't think I follow.
Hmm, I think you do.
I have a hunch that you wouldn't disappoint me on a treasure hunt.
That would all depend on what we're looking for.
A Montoya.
Montoya doesn't interest me.
Come on, now, Mr.
Travers.
You're on the board of the Manhattan Museum of Art.
Of course, you're interested.
You just lost the most famous Montoya of them all.
I expect that we'll meet again.
Bye for now.
Any luck? We found a coded message from San Marcos in his fax machine.
And I think we've just cracked it.
PHELPS: From President Ybarra, no less.
"Minister Ocha returning to New York "for urgent meeting with you "before launch of media campaign tomorrow.
"Imperative you honor our deal as originally stated.
" Honor among thieves.
There never has been.
Maybe this will give us something to work with.
It sounds like Travers isn't content with his end of the bargain and he's threatening to break it.
It sounds like he's holding all the cards.
So far, he is, but we will be at Minister Ocha's press conference tomorrow.
Travers is on before Ocha.
Make sure you get it.
[ camera shutters clicking, reporters murmuring .]
Ladies and gentlemen, on behalf of the City of New York and indeed the entire United States, the board of this museum deeply regrets the information you are about to hear concerning a theft of a very valuable painting, on loan to us from the people of San Marcos.
I give you their minister of culture, the esteemed Rafael Ocha.
Ladies and gentlemen, my country has lost its most treasured possession due to the arrogant disregard, the insult You're not here to admire our Impressionists, are you? Yes, I am.
After that auction, I'd say that we share the same tastes.
There are only two works in here that I truly admire.
If I had my way, this museum would sell off all the rest of them to buy more like these.
The one artist who brought every aspect of Impressionism under masterful control.
Daring composition, a wonderful eye for color.
Degas.
What a genius.
I know the whereabouts of a missing Degas.
If you're interested.
There isn't a Degas on or off the market that I don't know about.
I pay very qualified people to keep me informed of such things.
I wasn't referring to a known Degas.
I was referring to an unknown Degas.
Obviously, your qualified people aren't doing their homework.
That's nonsense.
If you don't believe in my Degas, that's your loss.
I think you're wanted.
OCHA: You said you had a deal one I would like.
Let's talk about it right now.
I'm all ears.
TRAVERS: So here's what I propose.
I get five miles of your gold coast and exclusive rights to build and operate a hotel-casino, tax-free, or the painting reappears and you lose all your propaganda against the United States.
This is an outrage.
No, th This is business.
And remember, you can't afford to expose me without ruining your own reputations.
[ chuckles .]
Relax.
We have the perfect arrangement.
I'll have to discuss this with President Ybarra.
Of course.
Adios, amigo.
Mmm.
What's your game, angel? I'd like to know.
Jim, Travers has Shannon under the knife.
I'd better jump in.
Max, no.
Stay clear.
We have to hold our cover, and Shannon knows that.
Now, who are you? I told you, I'm a dealer in fine art.
Some stolen, some not.
You get the picture? You're a fence.
I'm an exceptional fence.
Well, if you are who you say you are, you might just get to live.
And the test will be your missing Degas.
I want to see it.
That'll take some arranging.
I'm sure.
We'll do it together at my place.
Travers is taking her back to his penthouse.
Jim, he wants to see the Degas.
Shannon's done her part.
Now it's up to us.
Get back here as fast as you can with the photographs.
Max's close-ups will give us more fine detail paint, texture, brushstrokes.
We'll feed everything we've got on Degas into the computer.
It then assimilates all the elements of the artist's technique subject, color choice, brush stroke, line, depth, et cetera.
From there, the simulator takes over and give us, hopefully, our lost Degas.
Well, it had better.
Otherwise, we won't get any closer to his hidden gallery.
Worse than that.
It could cost Shannon her life.
I don't think much of your hospitality.
You haven't earned it yet.
First the call.
Then the drink.
[ line ringing .]
Hello.
This is your agent.
Uh, well, this is not the best time.
I know.
I'm sorry.
I'm here with a friend.
He's a patron of the arts.
He's particularly interested in dancers.
I believe you can help him find one.
One dancer does come to mind.
Could he see it today? Well, that's rather short notice.
It's rather urgent.
Uh, where and when? Central Park, by the lake.
About noon.
Central Park by the lake at noon? Uh, no.
Not noon.
Make it 5:00.
Good.
We'll expect you then.
All right.
Well done.
Now, what may I get you? Scotch.
Neat.
A 100-year-old canvas? You sure that painting we scraped off wasn't worth anything? Not at the price we paid.
You all set? The making of a masterpiece.
It's now or never, guys.
[ mechanical whirring .]
What do you think? I'd buy.
Remarkable.
But it's not what we think that counts.
Daniel Travers, Phillip Grenier.
You have the Degas? Of course.
I'd like to see it.
Right here? I'm curious to know if there's any point to this exercise.
And I likewise.
Are you prepared to pay my price? I'm not about to show my discovery to somebody who's simply curious.
I'll know what it's worth if it's genuine and pay accordingly.
Show him the painting, Phillip.
Mr.
Travers, you are about to view $18 million.
Satisfied? My God.
Now, who are we trusting? Your valuer has to be not only expert; he has to be discreet.
Uh, Brian Danmeer.
He's paid to keep secrets.
Your agent knows him already.
He'll be fine.
DANMEER: It certainly belongs to the correct era.
No doubt about that.
Brush stroke, technique, and color mix is infallible.
This is Degas' genius at work here, Daniel.
I think your search is finally over.
I think you're right, Brian.
Now, Mr.
Grenier and I have some negotiating to do.
Well, I've told you the price.
$18 million, nonnegotiable.
That's far ahead of market value.
Well, then, we'll wait for the market to catch up with it.
Good day, gentlemen.
Grant, the expert called it the work of a genius.
You must be the reincarnation of Degas.
Whoa, we got to give some credit to my simulator here.
So, uh, Travers went for it, eh? He went for it all right.
And I'm certain he'd kill for it.
Phillip, is that you? Phillip, are you there? [ gasps .]
Daniel.
I'm afraid the Degas is going to a new home, angel.
But trust me, it won't go unappreciated.
You snake.
You left me no room to negotiate.
[ groaning .]
Shannon? Shannon? [ sighs .]
You're okay.
Yeah.
I had myself pretty much covered.
And with this under the water, too.
Just in case he wasn't fooled.
Shannon's fine.
PHELPS: Is the bug in the painting working? Yep.
He's heading down East 54th Street.
Heading towards his hotel.
Good.
Nicholas is in position.
He's going down.
Repeat down.
I'll join you in the underground garage.
We got to be close to the answer here.
Downstairs to his hidden gallery.
[ beeping .]
[ whispering .]
: Over there.
MAX: We better split up.
GRANT: Right.
[ Iock clunking .]
Well, where'd he go? [ beeping .]
Bug's been blocked.
[ classical music playing .]
[ liquid pouring .]
To genius.
So it didn't work out last night.
We'll try a different approach.
How is Minister Ocha this morning? I'd say he's looking good.
Minister Ocha's wearing a black and white outfit today.
I'll fax you a reference shot.
I have discussed the situation with President Ybarra, and he agrees to your terms and looks forward to a new Travers resort in San Marcos.
That's wonderful.
However, he does insist that you now give me the Montoya painting for disposal.
TRAVERS: Well, I'm glad he understands the risk of leaving it in my hands.
I, uh, could become careless.
You continue to threaten us, senior.
If the American government were to recover the painting, the people of San Marcos would love us for it, not hate us, and your propaganda campaign would turn to, uh, ashes.
What I need is a document from your president.
Right.
Let's go.
Two police officers to see you, sir.
Show them in.
Thank you for seeing us, Minister Ocha.
I'm Captain Pierce, New York Police.
This is Inspector Wilson, Interpol.
Senior.
Well, what can I do for you? We're pleased to report that we found the Montoya painting that was stolen earlier this week.
You found it? What do you mean, you found it? Well, we've been tracking a multinational ring of art thieves, forgers and smugglers for some time now.
Yes, it was included in a shipment bound for Japan.
The Japanese mafia.
They've been buying a lot of high-priced stolen art recently.
I see.
Well, we know how important the painting is to the Republic of San Marcos.
We just wanted to let you know officially that it's on its way back to our Manhattan Museum of Art.
That is indeed good news.
Thank you, senior.
Thank you.
Thank you.
Yes, you're welcome.
Thank you, senior.
Good day.
Get me Senior Travers.
! Andale! You need your hot dog, Captain? Afraid I haven't time right now.
You play me for a fool.
The Montoya painting has been found.
Interpol is returning it to the museum as we speak.
That's impossible.
I've got the Montoya.
You have nothing.
And, senior, consider your land grant canceled.
Now, you hold on just a minute! I'm telling you that whatever you've got coming back to the exhibition is a forgery! Oh, really? You want proof? Just get over here right now, and I'll show you the real one.
I've had enough of your games.
Minister Ocha, wake up.
At this point, you cannot afford to try to second-guess me! Big dogs.
Big dogs here.
- Come on.
Buck and a quarter.
- [ dog barking .]
Hey, bark until you bite.
SHANNON: Sasha.
- Look out, dog! - Fluffy! - Ow! - Oh, oh, I'm terribly sorry.
Are you okay? Oh, you bad girls.
Oh [ quiet whooshing .]
[ groans .]
GRANT: Hey, are you all right, man? Stupid woman.
Are you all right, sir? You must learn to trust me.
[ elevator bell dings .]
TRAVERS: You are about to become the very first official visitor to my private gallery.
[ whirring, clanking .]
After you, Minister.
[ whirring .]
[ door clanking shut .]
Santa Maria.
[ chuckling .]
: Yes, it's a visual banquet, isn't it? I built this hotel on the site of an old bank, retained this interesting little hideaway.
It suits me down to the ground.
Monet.
[ high-pitched whirring .]
Van Gogh.
[ high-pitched whirring .]
My God.
Is this a Degas? Yes, it is.
It's my most recent acquisition, and as far as I'm concerned, the jewel of my collection.
This way, Minister.
I designed this security system to keep people like myself out.
There you see it.
The real Montoya.
- So I take the painting now? - You'll blow yourself to pieces if you do.
But you have your grant of land.
No, I don't.
I just have your word on that.
I told you, I need a document, signed and sealed.
You give me that, and I'll give you the Montoya to do with as you will.
GRANT: Palm print identifier, sensor detonation.
Quite a minefield.
Now, here are shots of every other painting down there.
Worth millions, but there's no sprinkler system.
No sprinkler system.
That's interesting.
And officially, his secret basement doesn't exist.
So it's not included in the hotel's fire control measures.
Well, I saw smoke detectors down there, but only handheld extinguishers.
Well, there will be a private alarm among the others we saw in his penthouse.
Oh, that could be the chink in his armor.
That could be the Achilles' heel.
Grant, could you duplicate those other paintings he has? From these photos? Yes.
Yeah, but, uh, they won't be fit for any close inspection.
No, that's not important.
We'll have Travers moving too fast.
Go to it.
You got it.
Jim, how long do you want to keep the minister under wraps? Oh, until we need him.
We're going to force Mr.
Travers to hand over the Montoya to the real minister this time.
[ beeping .]
This door is solid steel.
No wonder we lost contact with our bug.
[ whirring, door clanking shut .]
[ beeps .]
[ beeps .]
All right, time to catch Mr.
Travers on his own home ground.
[ phone rings .]
Yes? Ah, this is Rafael Ocha.
Ah, yes.
I, uh, take it you've spoken with President Ybarra about my final proposal? Yes, he was not pleased.
Well, he should be.
It's a bargain.
Yes, well, we agree with the terms.
In return for the Montoya painting.
With pleasure.
Just bring the papers to my penthouse, and we'll sign.
Stay here and monitor the bug in Travers' penthouse.
The moment you hear the minister's voice, give me a call, then come and join us.
Who are you? You remember me I'm Captain Pierce.
You had a bit of an accident.
Uh, fell down on the pavement, hit your head.
We're taking you to the hospital.
No, no, I've I've got an appointment.
An urgent appointment.
I must get to the Travers Hotel.
That was kind of a nasty fall you had.
Do as I say! Well, if you insist.
Okay.
Leave it to New York's finest.
Bye, Minister.
I hope you've enjoyed New York hospitality.
Let's go underground.
All right, Jim.
We're just about ready.
Okay, Grant, Minister Ocha is on his way.
Let's see the papers.
No, no.
First, you must show me the real Montoya.
What? We've been through all that.
TRAVERS [ over speaker .]
: What are you talking about? Jim, now.
Hit it, Grant.
[ fire alarm rings .]
[ alarm whooping .]
Fire! There's a fire in the gallery! My paintings! They're on their way in.
God! My Degas! My paintings! Help me! Grab something! Don't stand there! Help me! You get my Montoya.
Later! Help me here now! Our deal is gone.
And so is your Degas unless you get me the Montoya now.
Comprende? We're through negotiating, senior.
Okay! Okay! Okay.
[ high-pitched whirring .]
Grant, what's our status? He's at the vault now, Jim.
Here, the Montoya.
Give me my Degas.
Such a lot of trouble for a piece of rubbish.
What are you doing?! I did not want the painting, senior.
I have what I wanted to make sure its loss is blamed on the Americans.
And now that it's destroyed, I don't need your help.
So you can say adios to your stretch of our beach.
Our deal is off, senior.
Adios, Minister! [ groaning .]
Nobody double-crosses me.
[ valve squeaks .]
What? You glad to see me, Daniel? You You're dead! [ gasps .]
What are you doing? My Degas! You're destroying the work of a genius! What? My Degas, it's gone! You should have had more respect for a genuine work of art.
TRAVERS: Oh, my God.
You criminals.
You vandals! This can't be happening! No! [ siren wails .]
- Let's go.
Move it.
- Let's go.
You'll find Daniel Travers in the basement.
Make certain he's booked for murder one.
Will do, Captain.
Now, get the Montoya back to the museum.
A masterpiece like this is a little too hot to handle.
[ theme music playing .]