High Potential (2024) s02e08 Episode Script
The One That Got Away: Part Two
1
You give Morgan Gillory a puzzle,
she won't stop thinking
about it until it's solved.
- [MORGAN] Hey, any news?
- [DAPHNE] We found Roman.
- [OZ] Sending you a photo now.
- [MORGAN] That's not Roman.
I think someone's been on my tail
the past few days.
Maybe you should just hide the bag,
because whoever Roman's running from
might not want what's inside getting out.
[THUDS]
If we could just keep this between us.
We'll keep the circle small.
Let's run this stack of photos
through facial recognition.
- Who are you?
- [GASPS]
[PERSON 1] I want that backpack.
[KARADEC] A theft of major artwork…
Painted by Rembrandt in 1645.
[MORGAN] The thief wanted
this painting for a reason.
[NICK] Rhys just flew in to help us find
our missing painting.
[RHYS] I'm an art recovery specialist.
If I can recover the Rembrandt safely,
the insurance company can avoid
cutting a rather large check.
[NICK] You have any idea who it might be?
Well, the Internet seems to think so.
Some call him Jean-Baptiste.
If we find The Young Girl,
we should be returning it
to Miriam Weisman, not the Fosters.
[NICK] So you go back to the crime scene
on your own without a police escort?
[MORGAN] But if we didn't,
we wouldn't have gotten this.
Detective Karadec
and I can handle it from here.
Are you kicking me off the case?
[KARADEC] Don't worry.
The ransomer will turn up soon enough.
That's our guy. Let's go!
He was getting away.
[RHYS] Jean-Baptiste might not exist.
He could be a myth.
[KARADEC] The guard shot him in the
left shoulder, and he fled empty-handed.
I'm down at the museum,
and you're gonna wanna see this.
Our case just got blown wide open.
[CAR BEEPS]
[GASPS, GROANING] Oh, my God. [PANTING]
Damn it, Clark.
- [LAUGHING]
- Dear God. That's not okay.
No, you're big mad. Yo. What's the
problem? You love this kind of stuff.
You scared me. This is where I work.
Okay. I'm sorry.
You love this kind of stuff though.
Not this kind of stuff, okay?
Okay, I'm sorry.
I just couldn't wait to see you.
Been thinking about you all day.
- All day?
- Well, most of the day.
- Mmm.
- Give me some.
Mmm.
- Okay, let's go.
- Yeah, let's get out of here. [CHUCKLES]
Where are my keys?
- Whoa.
- [GASPS]
And you didn't see anyone leaving
the area before you found him?
No one.
Yeah, if she hadn't dropped her keys,
we might not have even noticed him.
Well, if you think of anything…
Does this have something to do
with the painting that got stolen?
["SUCH A REMARKABLE DAY" PLAYING]
Morgan.
- You called her?
- I did.
Such a remarkable day ♪
We're friendly thanks to you ♪
["SUCH A REMARKABLE DAY" ENDS]
You remember the museum director.
Cyrus Carrow, 48.
[KARADEC] CAUSE OF DEATH: Blunt force
trauma to the back of the head.
[NICK] Possibly his own tire iron,
which is missing from his trunk.
So… [SIGHS] …our friend here
has a $20 million painting stolen
from his museum,
and two days later, he winds up dead.
What are the odds
those things aren't connected?
Either he knew something
about the theft or he knew who did.
Maybe they got to him
before he could get to us.
[NICK] Any chance
we're looking at Jean-Baptiste?
[KARADEC] Not likely. Jean-Baptiste
stole paintings from across the world.
Cyrus wasn't a traveler.
Maybe he and Jean-Baptiste
were working together.
[KARADEC] Hmm. You think he's the
one who called you to set up the ransom?
I didn't recognize the voice,
but he did hand me the Polaroid.
[KARADEC] So we can't be sure if
our vic was a witness or an accomplice.
When was he killed?
Um, ME established time of death
within the last hour.
[SIGHS] Oh, thank God.
It's just good
that we got here so quickly.
He was wearing this at the museum.
Yeah, so why would our killer leave a
watch worth 200 grand on the ground?
Why go through all that trouble to take
it off his wrist just
to what, forget it?
Well, it's fake.
Yeah, if it was real,
the second hand would glide
and not jump around when it ticks.
Plus, the engraving's too shallow.
Our techs will take a look.
Sounds good.
I'm gonna skip out for a little bit.
- Everything all right?
- Yeah, just kids' stuff.
Need a ride?
No, I wanna walk.
["MAINS DE L'AMOUR" PLAYING]
[ADVERTISEMENT] And a bin
that needs to be emptied less often…
Oh. Sorry, just grabbing a towel.
- Made a mess.
- That's okay.
- I'll get it.
- Sure.
Morgan. Morgan.
What… You followed me?
You showed up to a crime scene
and left two minutes later.
Yes, I followed you.
What the hell's going on?
[SIGHS]
I think Rhys is Jean-Baptiste.
Rhys, the art consultant?
No, the peanut butter cup. Yes, same
guy. Only I don't think he recovers art.
I think he steals it. Or both.
I don't know.
I just know
that there is a crate in his room,
and I think our Young Girl is inside.
Settle down. It's a painting.
Um… Okay. That's it?
You heard he's got an art crate, and now
you think he's an
international art thief?
No, I saw it, and I also saw a scar
on his left shoulder from a bullet wound
just like Jean-Baptiste in the same spot.
- Okay, well, how did you see his scar?
- Huh?
The scar. You said you saw it.
Um…
I can tell you're making a face.
Could you translate that face for me?
[STAMMERS] Yeah. Yeah. You know.
He and I… We…
Oh. Oh.
You know what? It shocked me too. I
don't know. Can we move past that part?
We have to rethink
this entire investigation.
Okay, I think you're being
a little dramatic.
No, Rhys has been with us every step
from the heist to the murder.
I understand that. That's why I need
to peek inside that crate.
Morgan, you can't break into someone's
room without a warrant. You know that.
Obviously, if I find something important,
I'm gonna say that I saw it
when he invited me in.
That doesn't make it better, Morgan.
Now you're just adding perjury
to an unlawful search.
Good point. I'll jot that down.
Morgan. Mor…
- [ELEVATOR BELL DINGS]
- [SIGHS]
[DOOR BEEPS]
[PHONE BUZZES]
[SIGHS]
Hey.
Well, hello. Where did you disappear to?
Um, I had to go work on another case.
- Oh.
- Yeah, I know.
It's like I wish people would just
stop killing each other all the time.
You know, it's like it's enough already.
Well, I may head back
to my hotel room soon.
Why? Um, I just… There was so much work
to be done over there, right?
And what's-what's going on
with that watch? Remember that watch?
- Are you sure everything's okay?
- Yeah, yeah.
Because we kinda got
interrupted earlier.
We really did.
Maybe… I don't know.
We can pick things up where we left off.
[SUSPENSEFUL MUSIC PLAYING]
Did you find the painting?
I found a painting.
I did not find the painting.
So we have no idea
if Rhys is Jean-Baptiste or our killer.
I'm pretty sure he's Jean-Baptiste,
but we both know he's not our killer
because he has an alibi, remember?
Right. Well, a scar's not enough of a
smoking gun, Morgan. We need more.
Well, I'll find more.
It's how you'll get more that worries me.
You know what?
I don't need this from you right now.
And I don't need Wagner
going off on you again.
So if you really think Rhys
is Jean-Baptiste,
we need to bring the captain up to speed.
Absolutely not. No.
The only thing you need to do is get
the captain to bring
me back on the case.
And how should I go
about doing that exactly?
Well, you can start
by keeping your mouth shut
about everything that happened
in the hotel room.
Hmm. Okay. So lie to my captain
about where you were
and how we know what we know.
Just come up with something
that makes sense
and-and makes the captain trust me again.
You're making this harder
than it needs to be.
[SCOFFS]
[SIGHS]
I'm sorry.
So now we need to catch a thief
and a murderer.
Detective Karadec, glad you could join us.
[KARADEC] Captain.
Gillory. I'm sure you'll find another
case in need of your unique talents.
They're gonna have questions
about the victim at the press conference.
What do we know about Cyrus Carrow?
No priors, no kids, unmarried,
was born in the Philippines
and got a master's in Sculpture
here in LA.
Cyrus was the museum director
for five years.
We looked into all the staff
after the heist. Nothing flagged.
What about his social media?
This was his last post
taken two hours before he was murdered.
Find out where. What about our ransomer
with the tinted windows?
We ran the plates.
The car is registered to a Lou Fowler.
We put a BOLO out on the car.
Any connections with Jean-Baptiste?
Nothing yet. We still don't know
who he is or if he even exists.
I'm a skeptic, but… [SIGHS]
…I'd love to be proven wrong.
And the ransomer hasn't called you again
to make any demands?
[RHYS] No, none of my contacts
has seen or heard a whisper
about the stolen painting
on the dark web or anywhere else.
Maybe it just hasn't surfaced
or whoever took it is being real careful.
Great. So we're looking for an art thief
and a car thief who could be the same guy,
but the only suspect
we've been able to identify
is still Miriam Weisman's grandson.
So will someone find out what he was doing
while Detective Karadec
and I were running every red in the city?
My father bought that painting in 1932.
We lived in Kraków.
I was the only one in our family
that survived.
When the Nazis came, they took everything.
Morgan and I could go by Cyrus's place,
see if we can find anything.
Just you, Detective. Morgan's benched.
Forrester and Ozdil,
if there's a connection
between Cyrus and Jean-Baptiste,
I wanna know.
Let's hope we have a hell of a lot more
to say the next time
I talk to the press.
[MOUTHING WORDS] Go follow him.
So what's good around here?
Uh, you can have some of my carrots
or somebody else's pretzels.
So this is the consultant's corner, huh?
Where we wait to be called on?
You maybe. Not me. I'm out.
Look, about earlier, I truly had no plans.
I was… It just…
It's… Honestly… [CHUCKLES] …it's fine.
We got a little carried away.
It's… It's all good.
Okay. So, how's that other case
coming along?
You know, the one you had to check on?
Yeah, good, really good. Solved it.
- Already?
- Yep.
I know.
Some of these cases are tough, you know?
And then some are
just kinda open-and-shut.
Real grab bag here at Major Crimes.
- Well, congratulations.
- Mm-hmm.
Um…
I've given it some thought.
I'm gonna go
with somebody else's pretzels.
[CHUCKLES]
- Captain, you got a second?
- Later, Detective.
You know how the press gets
if we keep them waiting.
I'd like Morgan back
on the Jean-Baptiste case with me, sir.
- Ah, would you?
- You would too
if you'd worked as many cases with her
as I have.
- Where'd you go?
- I'm not sure I understand.
Back at the crime scene,
you took off. Both of you.
I'm finding it hard
to keep track of you two.
So I think you work this one solo.
Captain. I work with Morgan.
On every case.
Now I know what I signed up for.
If she messes up again, it's on me.
I mean, who carries around
a briefcase and never looks inside of it?
Morgan, can we focus, please?
Fine. What'd you say to Wagner
to get me back on the case?
I spoke to him cop to cop, and he agreed.
Simple as that.
[MORGAN SCOFFS]
- You're not gonna let this go, are you?
- What do you think?
- Look, Wagner knows that you're…
- Yeah?
…you're a wild card, okay?
But he wants to know everything
that's going on with you.
Same goes for me. If we do that,
then we stay on his good side.
But if we keep hiding things from him,
it's my ass.
- But we are hiding things from him.
- I'm well aware.
Then you need to watch your ass.
[WORKER] Here's, uh, Cyrus's apartment.
Whoa, whoa, whoa, whoa, whoa.
[CLATTERING IN APARTMENT]
Cyrus lived alone. Someone's in there.
[KARADEC]
We didn't expect anyone to be here.
We're very sorry for your loss, Emilio.
How long did you know Cyrus?
Cyrus and I started dating
a few months ago.
A friend introduced us right
when I arrived from Colombia,
and, uh, we just clicked.
He asked me to move in with him
almost right away.
When he stopped answering my texts,
I started to worry and came home.
That's when I saw the news.
I'm so sorry.
You know, my partner and I met Cyrus.
He seemed like a very sweet man.
I thought we'd be together forever.
[KARADEC] Can you think of anybody
who might've wanted to hurt him?
[EMILIO] Cyrus? No.
[KARADEC] And what you do for work?
I'm a language instructor for IFLA.
International Foreign Language
Assistance Program.
Well, these sure are beautiful.
Oh, yes, thank you.
They're 18th-century Italian Baroque.
- Oh, I know. I love the floral motif.
- Yeah.
Was Cyrus the collector or were you?
I started getting Cyrus into antiquing.
Uh, we picked those up last weekend
at the Rose Bowl flea market.
What a find. This one is so shiny.
What do you use to polish yours?
Ferric oxide?
Uh, I, uh, don't remember what we
used. Some kind of
cleaning product. Why?
Oh, you can use ferric oxide
to polish metals,
but if you add a little bit of powdered
aluminum to it, you get thermite,
which is a pyrotechnic composition
that can burn
up to 4500 degrees Fahrenheit.
So people use it for things like
welding or making fireworks or grenades.
Yeah, it can even melt glass.
Like the skylight at the museum.
Wait, you… You think that I had
something to do with
the stolen painting?
You know, a by-product of thermite is,
uh, aluminum oxide.
It's this very fine powder.
Yep, that's it.
You know, I think we should
take this conversation
down to the precinct, Emilio. Emilio.
Hey. Hey.
["GONNA GET YOU" PLAYING]
Move.
["GONNA GET YOU" CONTINUES]
- [STARTER GRINDS]
- ["GONNA GET YOU" ENDS]
You know, the thing about stolen
vehicles is they aren't
always so reliable.
Out of the car, sir. Nice and slow.
[PHONE BUZZES]
Hey, it's Arthur. I gotta take this.
- Okay. I'll go brief Wagner.
- [BUZZING CONTINUES]
Arthur, you okay?
Well, things could be better.
- What are you talking about?
- Some guy, he ambushed me.
He was looking for Roman's backpack.
- [GROANS]
- [CUT MAN] Hold still.
I got away, but not before he got
a few hits in on me, you know?
Oh, my God. How bad is it?
[GRUNTS] I got a hard head. I'll live.
All right. Where are you?
- I'm getting patched up right now.
- Which hospital?
Hospitals ask too many questions.
I got my own cut man. Hey, hold on.
Hey, Harold.
Just give me a second, all right?
Give me one minute. Thank you, brother.
[SIGHS] Morgan, listen to me
very carefully, all right?
These people are not playing games.
Whatever's in that backpack
that Roman gave me to pick up,
they want it, and they want it real bad.
Do they know I have it?
I don't know. If they do,
I damn sure didn't tell 'em about it.
[SIGHS] Okay, this guy.
Do you think you could identify him
- and describe him to a sketch artist?
- [SCOFFS]
We talked about this before.
I am not going to the police.
Arthur, you just got attacked.
Who knows when they'll find out
I have Roman's stuff?
Just tell us where you are.
We can come to you.
[SIGHS]
Please.
Mr. and Mrs. Foster.
What the hell was that?
Greg and I saw
your captain's press conference.
Then you know we're doing everything
we can to find your stolen painting.
Are you? Because we were
beginning to wonder
if you were only interested
in getting your face on the news.
If me standing in front of a camera
can help catch a murderer and a thief…
And what happened with the ransom note?
We have a suspect in custody,
and I assure you we are working
to answer those questions.
Well, it doesn't seem
like you have much to show for it.
Mr. and Mrs. Foster, we know how much
The Young Girl means to you.
Now I can assure you that Captain Wagner,
as well as our entire team
in Major Crimes,
is doing everything possible
to bring her home.
Now please let us do our job.
Don't bother. It's time we hired
our own private detective.
I think you've kept us waiting
long enough.
You're not listening to me.
You got the wrong guy.
No, we wanna believe you, Emilio,
but you did try to get away from us
in a stolen vehicle. Twice.
And then there's what we found
in your apartment.
Items consistent with the burglary.
- That's not mine. Never seen these before.
- Then why run?
You see, I think you started dating Cyrus
to get access to his museum,
and then you did
that whole Mission: Impossible act.
A theft, a murder, a ransom.
You had the whole thing planned out.
My relationship with Cyrus wasn't perfect,
but I would never hurt him.
Not even for $20 million?
Where did you hide the painting?
[EMILIO] I'm not hiding anything.
[KARADEC]
But you showed up to the ransom. What?
Did you get nervous you weren't
gonna be able to find a buyer?
Because I think you found out
about Rhys through Cyrus,
and Cyrus found out what you were doing,
and you couldn't have that.
Or maybe he discovered
this wasn't the first painting you stole.
I don't understand.
Oh, I think you do, Emilio.
Or would you prefer the name,
Jean-Baptiste?
[EMILIO] I only heard about the stolen
painting because Cyrus told me,
like… I'm not answering
any more questions.
Fine, don't say another word.
But this court order says
that you need to let us check
for any identifying marks
on your left shoulder.
Got this one cutting
an avocado like a jerk.
- Well, I'm glad you survived.
- [CHUCKLES]
What about you?
- Scars?
- [MORGAN] Mm-hmm.
I only have the one.
I'm pretty sure you've seen it too.
I don't… I don't think I have.
Oh, that's hard to believe,
given your powers of observation.
Summer 2010, Florence Art Festival.
Things took a very unpleasant turn.
I mean, I didn't see the gun,
but I heard the shot.
Luckily for me, it missed my artery.
Oh.
He's got a whole collection of 'em,
doesn't he?
That he does.
I served two years in the Colombian
Army. 27th Jungle Battalion in Putumayo.
Wait, look at the side of his hand.
Yeah, it's all red. Why?
You think he banged it up?
No, I think it's ink.
Emilio said he was a language instructor.
He probably graded papers with red ink,
but I didn't see any papers
in the apartments.
- And what do you do for work?
- I'm a language instructor.
Maybe he was doing it in an office,
and maybe that office is used
for something
other than just grading papers.
Guys, let's go!
She left.
Okay, so we're thinking Emilio might
have had another reason to be here.
- Like hiding the painting?
- Or the murder weapon.
- It's a lot of boxes.
- I'll take this room.
All right, let's get started.
Teaching languages could've kept
Emilio hopping from
one country to another.
That would be a good cover
for an international art thief.
[DAPHNE] Okay, there's nothing in here,
except for student paperwork.
- [OZ] Same.
- What do we have here?
- Whoo.
- [DAPHNE] Oh, wow.
I'll call a team to crack it open.
- [MORGAN] Uh, guys…
- [KARADEC] Yeah.
Looks like we found Jean-Baptiste.
Good afternoon. I'm Captain Nick Wagner
from the LAPD's Major Crimes Division.
Earlier today,
our detectives arrested an individual
we believe is responsible for the murder
of Cyrus Carrow.
While our investigation is not complete,
we will soon be returning the stolen
Rembrandt to its rightful owners.
Are there any questions?
- Did you inform the Fosters?
- Yep, we left word for them.
They'll be glad. There doesn't seem
to be any noticeable damage.
Hmm.
[MORGAN] Look who's here.
Detectives.
Ari, Miriam, what are you doing here?
We came to see the painting.
Morgan invited us.
["DRUMMA SOME" PLAYING]
You Arthur?
You a cop trying to blend in?
I'm a friend of Morgan's.
Let me just say what I gotta say
so we can get this thing over with.
I'm listening.
There was a dude hiding
in the back of my truck.
When I didn't give him what he wanted,
he reached for a blade,
then we got into it.
You get a look at the guy?
Just a couple of glimpses.
Then we spilled out into the street.
It all happened pretty fast.
Any information helps.
All right.
White dude, 50s, lean,
salt-and-pepper hair.
He had, uh, this big-ass goatee.
He also had a, uh… a tattoo
of some kind of bird
peeking out his shirt right here.
What are you doing?
We found pictures of some people
in Roman's backpack.
One of the guys was somebody
we couldn't identify.
[SIGHS]
That the guy?
Yeah, that's the guy.
Then I'm gonna need you
to come down to the precinct with me,
make an official statement.
I'm afraid my unofficial statement is
just gonna have to stand for now. Sorry.
Your life… Your life could be in danger.
What do you want me to do, huh?
You want me to sit in your lobby
till you catch him?
Look, just find the guy, all right?
Put a couple of your people on Morgan
and her family, 'cause
trust me, I'm good.
We done here? All right.
I'm giving you my number,
and you're gonna hold on to it.
And I hope you never see this guy
again, but the moment you do, call me.
All right.
- You invited her?
- Yes, I did.
You think the Fosters are going
to loan out that painting anytime soon?
This will be the last time Miriam Weisman
will ever be able to see it,
not to mention the fact that, technically,
it belongs to her,
so none of this is fair.
Well, it's our job to enforce the law
even when it's not.
[GROANS] Oh, yes,
thank you for the reminder.
I'm sorry for the quick exit,
but I'm due in Palermo tomorrow.
I have another stolen art piece
that requires my services.
Oh.
Is she a provocative young girl this time?
She's a landscape.
Well, Rhys, it would seem
that your job here is done. Thank you.
- The pleasure's all mine.
- Mm-hmm.
And for what it's worth,
I really wish The Young Girl was being
returned to Miriam Weisman too.
You all right?
Yeah.
That's not her.
What do you mean?
She doesn't have my eyes.
My father always loved
that we had the same eyes.
I think she's right.
Karadec, look at the whites of her eyes.
That's too bright.
In 1645, painters used chalk mixes
or lead white
that had like a creamy softness to it.
This is brilliant and glaring,
more like a modern titanium white,
which didn't exist
for another three centuries.
In 1645, no one could've painted
with this brightness and clarity.
The materials didn't exist.
I'm sorry for the quick exit,
but I'm due in Palermo tomorrow.
What do you mean it's not her?
Morgan says the one we found is a fake.
Wouldn't the museum have authenticated it?
No, not a small museum like the Harbogh
and when it comes from a reputable
collector like the Fosters.
So, we're supposed to believe
she knows just by looking at it?
Well, there's an authenticator
on the way, but I believe Morgan.
Where is she?
You can take the next one, right?
Thanks, Gina.
Well, I'm not normally one
for prolonged goodbyes, but in this case
- Do you have it?
- I'm sorry, what?
- Do you have the painting?
- Are you serious?
You haven't opened that briefcase once
since you've been here.
What's inside of it?
So, that's why you asked me about my scar.
Because you think I'm Jean-Baptiste.
And then I did what?
Stole the Rembrandt
while no one was looking,
folded it up and hid it in my briefcase?
[ELEVATOR BUZZES]
I can think of one way we can clear it up.
They're just confidential client files
in there, Morgan.
Nothing else, I assure you.
All right, there's an unfortunate amount
of paperwork that
goes with art recovery.
I bet, yeah.
Okay, as you wish.
[GRUNTS]
[STAMMERS] I'm sorry, I really
thought the one we
found in Emilio's office
- was fake and you
- Stole the real one. I picked up on that.
So, you've been playing me
this whole time?
Was any of this real?
No.
- [ELEVATOR BELL DINGS]
- It's not real.
Morgan, what is this?
We asked Daphne to pull the Fosters'
insurance policy
over the last ten years.
Now, take a look
at what they were insuring in 2019.
- That's a lot of art.
- Mm-hmm.
Now look at what they insured
a few years later.
- Only 12 items.
- [MORGAN] And this year?
- Just one.
- That's right.
Now what are the odds that of all
the priceless art that they own,
the one piece that gets stolen is the
only one that happens to be insured?
I think the art that I saw
at their house was fake.
[BUZZER SOUNDING]
Just like the painting we found,
I tracked down black market sales
for eight of the pieces listed
on the Fosters' 2019 insurance rider.
Then we did some more digging.
They're in debt to some bad people.
So, you're saying the Fosters arranged
for their own painting
to be stolen for the insurance money?
They love that painting so much,
they weren't willing to give it up
even when they went broke.
All right, where is this going?
One of them must have gotten an idea.
Now I don't know if
it was Greg or Linda.
Let's arrange to have
our painting stolen
and returned to us
without anyone knowing.
That way, they could keep
both the insurance money and the painting.
[SQUEALS]
But why give over the real thing
if you don't have to?
Maybe they didn't. Maybe the Fosters
had a forgery made for the museum.
[MORGAN] Right,
probably by the same expert
who forged their other ones
on their walls.
I don't think
they'd want their beloved painting
getting sliced out of a frame, do you?
So, the museum never had
the real painting. It was all a setup?
That's right,
but nobody robs a museum for free.
You guys remember the watch?
I think that Greg and Linda gave Cyrus
the watch as a down payment.
And by the time Cyrus realized
the watch was a fake,
he'd already stolen the painting,
making it look like
it was Jean-Baptiste
so we wouldn't suspect him.
What he didn't know was
the painting was fake too.
He decided he wanted to double-cross
the Fosters by putting it up for ransom.
But when the Fosters found out,
they confronted him
before he could find out
the painting was fake.
And by that time, he'd already given
the painting to Emilio,
who hid it in his office,
believing it was real.
The Fosters couldn't risk
the truth getting out.
They needed to keep him quiet,
so they killed Cyrus.
Again, I'm not sure which one.
Maybe it was both of them.
Fake watch? Are you kidding me? Come on!
Again, not sure which.
All right, we need
to bring the Fosters in for questioning.
They have a yacht.
The Fosters have a yacht.
I saw a picture of it at their house.
It was called the Easy Monet.
If they go out to ditch the murder weapon,
they could try to get away
with murder and the painting.
Forrester, go grab Ozdil.
Go to their house.
Karadec, how are your sea legs?
["DEADLY VALENTINE" PLAYING]
You know this place?
- Yeah, a friend docks his boat here.
- [BOAT HORN BLOWS]
- [KARADEC] That's them.
- They're casting off. Let's go.
From this day forward, for better
For worse, until death do us part ♪
- Yep.
- Yep, it's real, or, yep, it's
The underlayers are inconsistent
with the pigments available
at the time the real Rembrandt
was painted.
With this ring I thee wed
With all my worldly goods I thee endow ♪
Mr. and Mrs. Foster, LAPD!
To love and to cherish
According to God's holy ordinance ♪
["DEADLY VALENTINE" CONTINUES]
This is Lieutenant Soto.
I'm being followed again.
Arthur, where are you?
I'll send you a black-and-white.
I'm just passing Temple and Grand.
I'm actually on my way to you.
Maybe this guy will follow me
all the way to the station.
- [PHONE BUZZES]
- Yeah?
Fosters aren't here.
Looks like they left in a hurry.
- They took everything of value with them.
- [OZ] Mm-hmm.
So, they're making a run for it.
All right, thanks.
So, you're sure it's fake?
It's the best I've ever seen.
How did the lady know?
She didn't have her eyes.
Can you see his license plate?
No, he keeps weaving in between the cars.
It's a sedan of some kind,
but this guy really knows
what he's doing.
Listen, I'll be at you in about 15,
20 minutes, tops.
All right, well, then just stay
on the line with me
until you get to the precinct.
Look, I'll be fine, all right?
I'll see you soon.
- Arthur.
- [LINE DISCONNECTS]
Forever let him hold his peace ♪
LAPD, stop this boat right now. Right now!
- Put the gun down.
- ["DEADLY VALENTINE" FADES OUT]
Is that a flare gun, Greg?
You could really hurt someone with that.
Put it down!
I wish that I could,
but the LAPD has a few rules,
and not dropping my gun
in a situation like this is one of them.
Greg, what are you doing?
Please stop, okay? This has gone too far.
- I'm handling it, honey.
- You're not handling it.
I don't think anyone else needs
to die today, Greg.
I don't know what you're talking about!
Maybe we got it wrong,
but I'm sure we can work something out.
Just put the flare gun down.
Honey, please. It is over, okay?
Where are we gonna go?
How are we gonna live, okay? [SCREAMS]
- [FLARE GUN FIRES]
- [GRUNTING]
- Where?
- It's back here.
[LINDA] What?
Wait, where did it go?
It was right there. I swear to God.
Where did it go?
["COUNT YOUR BLESSINGS" PLAYING]
What you got in there?
Would you believe me
if I said it's schoolboy's trainers?
How'd you know?
[MIRIAM] She doesn't have my eyes.
Does it matter?
I'm not a murderer, Morgan.
- Just a thief.
- I do recover art for insurance companies.
Hmm. And every once in a while,
you just decide to hang on to one?
So, you are Jean-Baptiste?
You know, I don't even know
who picked that name.
It wasn't even
the first piece of art that I stole.
You can complain to my partner
after he arrests you.
I don't think you called him yet.
And I'm wondering if that's
because you don't want The Young Girl
going back to Greg and Linda
any more than I do.
And you know that I can get her back
where she really belongs.
You stole the painting
just to give it away?
You expect me to believe that?
I do.
- You're lying.
- I'm trying to do the right thing, Morgan.
[SCOFFS]
I have no way of knowing
if you're just gonna keep it for yourself.
That's true. I guess
you're just gonna have to trust me.
["BURNING" PLAYING]
Believer ♪
Took me over like a fever ♪
Wait, do you guys think the Fosters
are gonna get off easy?
The Fosters would have
to have a great lawyer for that.
I don't think they can afford it.
But what a waste though, you know?
If I had that kind of money,
I'd buy a Malibu mansion or a WNBA team.
Oh, no. I'd start my own animal rescue.
- Okay, now I feel bad.
- He did that on purpose.
- Yeah!
- He definitely did. I'll get more drinks.
He could live at my animal shelter!
As I go ♪
- Still no sign of Arthur?
- Not yet, Lieutenant.
I'll call again,
but if he doesn't answer this time,
- put a BOLO out on his truck.
- You got it.
Hey. Heard you guys do
an end-of-the-day thing here.
Thought I'd find you.
If you're gonna fire me, can I throw
a few more drinks on this tab first?
Oh, you're not fired, Morgan.
Too valuable for your team and to me.
I'm not letting you go.
- This how you apologize?
- No.
[CHUCKLES]
So, what's it like sitting out
on this arrest? It's not like you.
Oh, no, I didn't sit out.
I was kicked out,
but, uh, thanks for asking. It sucked.
Well, don't worry.
You'll be there on the next one.
Did you hear about the painting?
I did. Oz thinks the Fosters tossed it
in the ocean.
That tracks.
They seem like the kind of people
who are like,
"If I can't have her, nobody can."
Is that really what you think happened?
I don't know. I'm just a consultant.
We questioned the yacht's crew.
One of them said
that they saw a man in a wet suit
slip over the side of the boat
holding something.
So, I was thinking
maybe it was Jean-Baptiste.
Come on. I don't think that guy exists.
No?
[KNOCKING ON DOOR]
What you gonna do
when you get to the water? ♪
[ARI] Grandma.
What you gonna do
when you get to the water? ♪
[GASPS]
[GASPING] It's my girl.
My Madeline.
[LINE RINGING]
Into the sea, out of fire ♪
[PHONE BUZZING]
All that burning ♪
Into the sea, out of fire ♪
All that burning ♪
Into the sea, out of fire ♪
All that burning ♪
You give Morgan Gillory a puzzle,
she won't stop thinking
about it until it's solved.
- [MORGAN] Hey, any news?
- [DAPHNE] We found Roman.
- [OZ] Sending you a photo now.
- [MORGAN] That's not Roman.
I think someone's been on my tail
the past few days.
Maybe you should just hide the bag,
because whoever Roman's running from
might not want what's inside getting out.
[THUDS]
If we could just keep this between us.
We'll keep the circle small.
Let's run this stack of photos
through facial recognition.
- Who are you?
- [GASPS]
[PERSON 1] I want that backpack.
[KARADEC] A theft of major artwork…
Painted by Rembrandt in 1645.
[MORGAN] The thief wanted
this painting for a reason.
[NICK] Rhys just flew in to help us find
our missing painting.
[RHYS] I'm an art recovery specialist.
If I can recover the Rembrandt safely,
the insurance company can avoid
cutting a rather large check.
[NICK] You have any idea who it might be?
Well, the Internet seems to think so.
Some call him Jean-Baptiste.
If we find The Young Girl,
we should be returning it
to Miriam Weisman, not the Fosters.
[NICK] So you go back to the crime scene
on your own without a police escort?
[MORGAN] But if we didn't,
we wouldn't have gotten this.
Detective Karadec
and I can handle it from here.
Are you kicking me off the case?
[KARADEC] Don't worry.
The ransomer will turn up soon enough.
That's our guy. Let's go!
He was getting away.
[RHYS] Jean-Baptiste might not exist.
He could be a myth.
[KARADEC] The guard shot him in the
left shoulder, and he fled empty-handed.
I'm down at the museum,
and you're gonna wanna see this.
Our case just got blown wide open.
[CAR BEEPS]
[GASPS, GROANING] Oh, my God. [PANTING]
Damn it, Clark.
- [LAUGHING]
- Dear God. That's not okay.
No, you're big mad. Yo. What's the
problem? You love this kind of stuff.
You scared me. This is where I work.
Okay. I'm sorry.
You love this kind of stuff though.
Not this kind of stuff, okay?
Okay, I'm sorry.
I just couldn't wait to see you.
Been thinking about you all day.
- All day?
- Well, most of the day.
- Mmm.
- Give me some.
Mmm.
- Okay, let's go.
- Yeah, let's get out of here. [CHUCKLES]
Where are my keys?
- Whoa.
- [GASPS]
And you didn't see anyone leaving
the area before you found him?
No one.
Yeah, if she hadn't dropped her keys,
we might not have even noticed him.
Well, if you think of anything…
Does this have something to do
with the painting that got stolen?
["SUCH A REMARKABLE DAY" PLAYING]
Morgan.
- You called her?
- I did.
Such a remarkable day ♪
We're friendly thanks to you ♪
["SUCH A REMARKABLE DAY" ENDS]
You remember the museum director.
Cyrus Carrow, 48.
[KARADEC] CAUSE OF DEATH: Blunt force
trauma to the back of the head.
[NICK] Possibly his own tire iron,
which is missing from his trunk.
So… [SIGHS] …our friend here
has a $20 million painting stolen
from his museum,
and two days later, he winds up dead.
What are the odds
those things aren't connected?
Either he knew something
about the theft or he knew who did.
Maybe they got to him
before he could get to us.
[NICK] Any chance
we're looking at Jean-Baptiste?
[KARADEC] Not likely. Jean-Baptiste
stole paintings from across the world.
Cyrus wasn't a traveler.
Maybe he and Jean-Baptiste
were working together.
[KARADEC] Hmm. You think he's the
one who called you to set up the ransom?
I didn't recognize the voice,
but he did hand me the Polaroid.
[KARADEC] So we can't be sure if
our vic was a witness or an accomplice.
When was he killed?
Um, ME established time of death
within the last hour.
[SIGHS] Oh, thank God.
It's just good
that we got here so quickly.
He was wearing this at the museum.
Yeah, so why would our killer leave a
watch worth 200 grand on the ground?
Why go through all that trouble to take
it off his wrist just
to what, forget it?
Well, it's fake.
Yeah, if it was real,
the second hand would glide
and not jump around when it ticks.
Plus, the engraving's too shallow.
Our techs will take a look.
Sounds good.
I'm gonna skip out for a little bit.
- Everything all right?
- Yeah, just kids' stuff.
Need a ride?
No, I wanna walk.
["MAINS DE L'AMOUR" PLAYING]
[ADVERTISEMENT] And a bin
that needs to be emptied less often…
Oh. Sorry, just grabbing a towel.
- Made a mess.
- That's okay.
- I'll get it.
- Sure.
Morgan. Morgan.
What… You followed me?
You showed up to a crime scene
and left two minutes later.
Yes, I followed you.
What the hell's going on?
[SIGHS]
I think Rhys is Jean-Baptiste.
Rhys, the art consultant?
No, the peanut butter cup. Yes, same
guy. Only I don't think he recovers art.
I think he steals it. Or both.
I don't know.
I just know
that there is a crate in his room,
and I think our Young Girl is inside.
Settle down. It's a painting.
Um… Okay. That's it?
You heard he's got an art crate, and now
you think he's an
international art thief?
No, I saw it, and I also saw a scar
on his left shoulder from a bullet wound
just like Jean-Baptiste in the same spot.
- Okay, well, how did you see his scar?
- Huh?
The scar. You said you saw it.
Um…
I can tell you're making a face.
Could you translate that face for me?
[STAMMERS] Yeah. Yeah. You know.
He and I… We…
Oh. Oh.
You know what? It shocked me too. I
don't know. Can we move past that part?
We have to rethink
this entire investigation.
Okay, I think you're being
a little dramatic.
No, Rhys has been with us every step
from the heist to the murder.
I understand that. That's why I need
to peek inside that crate.
Morgan, you can't break into someone's
room without a warrant. You know that.
Obviously, if I find something important,
I'm gonna say that I saw it
when he invited me in.
That doesn't make it better, Morgan.
Now you're just adding perjury
to an unlawful search.
Good point. I'll jot that down.
Morgan. Mor…
- [ELEVATOR BELL DINGS]
- [SIGHS]
[DOOR BEEPS]
[PHONE BUZZES]
[SIGHS]
Hey.
Well, hello. Where did you disappear to?
Um, I had to go work on another case.
- Oh.
- Yeah, I know.
It's like I wish people would just
stop killing each other all the time.
You know, it's like it's enough already.
Well, I may head back
to my hotel room soon.
Why? Um, I just… There was so much work
to be done over there, right?
And what's-what's going on
with that watch? Remember that watch?
- Are you sure everything's okay?
- Yeah, yeah.
Because we kinda got
interrupted earlier.
We really did.
Maybe… I don't know.
We can pick things up where we left off.
[SUSPENSEFUL MUSIC PLAYING]
Did you find the painting?
I found a painting.
I did not find the painting.
So we have no idea
if Rhys is Jean-Baptiste or our killer.
I'm pretty sure he's Jean-Baptiste,
but we both know he's not our killer
because he has an alibi, remember?
Right. Well, a scar's not enough of a
smoking gun, Morgan. We need more.
Well, I'll find more.
It's how you'll get more that worries me.
You know what?
I don't need this from you right now.
And I don't need Wagner
going off on you again.
So if you really think Rhys
is Jean-Baptiste,
we need to bring the captain up to speed.
Absolutely not. No.
The only thing you need to do is get
the captain to bring
me back on the case.
And how should I go
about doing that exactly?
Well, you can start
by keeping your mouth shut
about everything that happened
in the hotel room.
Hmm. Okay. So lie to my captain
about where you were
and how we know what we know.
Just come up with something
that makes sense
and-and makes the captain trust me again.
You're making this harder
than it needs to be.
[SCOFFS]
[SIGHS]
I'm sorry.
So now we need to catch a thief
and a murderer.
Detective Karadec, glad you could join us.
[KARADEC] Captain.
Gillory. I'm sure you'll find another
case in need of your unique talents.
They're gonna have questions
about the victim at the press conference.
What do we know about Cyrus Carrow?
No priors, no kids, unmarried,
was born in the Philippines
and got a master's in Sculpture
here in LA.
Cyrus was the museum director
for five years.
We looked into all the staff
after the heist. Nothing flagged.
What about his social media?
This was his last post
taken two hours before he was murdered.
Find out where. What about our ransomer
with the tinted windows?
We ran the plates.
The car is registered to a Lou Fowler.
We put a BOLO out on the car.
Any connections with Jean-Baptiste?
Nothing yet. We still don't know
who he is or if he even exists.
I'm a skeptic, but… [SIGHS]
…I'd love to be proven wrong.
And the ransomer hasn't called you again
to make any demands?
[RHYS] No, none of my contacts
has seen or heard a whisper
about the stolen painting
on the dark web or anywhere else.
Maybe it just hasn't surfaced
or whoever took it is being real careful.
Great. So we're looking for an art thief
and a car thief who could be the same guy,
but the only suspect
we've been able to identify
is still Miriam Weisman's grandson.
So will someone find out what he was doing
while Detective Karadec
and I were running every red in the city?
My father bought that painting in 1932.
We lived in Kraków.
I was the only one in our family
that survived.
When the Nazis came, they took everything.
Morgan and I could go by Cyrus's place,
see if we can find anything.
Just you, Detective. Morgan's benched.
Forrester and Ozdil,
if there's a connection
between Cyrus and Jean-Baptiste,
I wanna know.
Let's hope we have a hell of a lot more
to say the next time
I talk to the press.
[MOUTHING WORDS] Go follow him.
So what's good around here?
Uh, you can have some of my carrots
or somebody else's pretzels.
So this is the consultant's corner, huh?
Where we wait to be called on?
You maybe. Not me. I'm out.
Look, about earlier, I truly had no plans.
I was… It just…
It's… Honestly… [CHUCKLES] …it's fine.
We got a little carried away.
It's… It's all good.
Okay. So, how's that other case
coming along?
You know, the one you had to check on?
Yeah, good, really good. Solved it.
- Already?
- Yep.
I know.
Some of these cases are tough, you know?
And then some are
just kinda open-and-shut.
Real grab bag here at Major Crimes.
- Well, congratulations.
- Mm-hmm.
Um…
I've given it some thought.
I'm gonna go
with somebody else's pretzels.
[CHUCKLES]
- Captain, you got a second?
- Later, Detective.
You know how the press gets
if we keep them waiting.
I'd like Morgan back
on the Jean-Baptiste case with me, sir.
- Ah, would you?
- You would too
if you'd worked as many cases with her
as I have.
- Where'd you go?
- I'm not sure I understand.
Back at the crime scene,
you took off. Both of you.
I'm finding it hard
to keep track of you two.
So I think you work this one solo.
Captain. I work with Morgan.
On every case.
Now I know what I signed up for.
If she messes up again, it's on me.
I mean, who carries around
a briefcase and never looks inside of it?
Morgan, can we focus, please?
Fine. What'd you say to Wagner
to get me back on the case?
I spoke to him cop to cop, and he agreed.
Simple as that.
[MORGAN SCOFFS]
- You're not gonna let this go, are you?
- What do you think?
- Look, Wagner knows that you're…
- Yeah?
…you're a wild card, okay?
But he wants to know everything
that's going on with you.
Same goes for me. If we do that,
then we stay on his good side.
But if we keep hiding things from him,
it's my ass.
- But we are hiding things from him.
- I'm well aware.
Then you need to watch your ass.
[WORKER] Here's, uh, Cyrus's apartment.
Whoa, whoa, whoa, whoa, whoa.
[CLATTERING IN APARTMENT]
Cyrus lived alone. Someone's in there.
[KARADEC]
We didn't expect anyone to be here.
We're very sorry for your loss, Emilio.
How long did you know Cyrus?
Cyrus and I started dating
a few months ago.
A friend introduced us right
when I arrived from Colombia,
and, uh, we just clicked.
He asked me to move in with him
almost right away.
When he stopped answering my texts,
I started to worry and came home.
That's when I saw the news.
I'm so sorry.
You know, my partner and I met Cyrus.
He seemed like a very sweet man.
I thought we'd be together forever.
[KARADEC] Can you think of anybody
who might've wanted to hurt him?
[EMILIO] Cyrus? No.
[KARADEC] And what you do for work?
I'm a language instructor for IFLA.
International Foreign Language
Assistance Program.
Well, these sure are beautiful.
Oh, yes, thank you.
They're 18th-century Italian Baroque.
- Oh, I know. I love the floral motif.
- Yeah.
Was Cyrus the collector or were you?
I started getting Cyrus into antiquing.
Uh, we picked those up last weekend
at the Rose Bowl flea market.
What a find. This one is so shiny.
What do you use to polish yours?
Ferric oxide?
Uh, I, uh, don't remember what we
used. Some kind of
cleaning product. Why?
Oh, you can use ferric oxide
to polish metals,
but if you add a little bit of powdered
aluminum to it, you get thermite,
which is a pyrotechnic composition
that can burn
up to 4500 degrees Fahrenheit.
So people use it for things like
welding or making fireworks or grenades.
Yeah, it can even melt glass.
Like the skylight at the museum.
Wait, you… You think that I had
something to do with
the stolen painting?
You know, a by-product of thermite is,
uh, aluminum oxide.
It's this very fine powder.
Yep, that's it.
You know, I think we should
take this conversation
down to the precinct, Emilio. Emilio.
Hey. Hey.
["GONNA GET YOU" PLAYING]
Move.
["GONNA GET YOU" CONTINUES]
- [STARTER GRINDS]
- ["GONNA GET YOU" ENDS]
You know, the thing about stolen
vehicles is they aren't
always so reliable.
Out of the car, sir. Nice and slow.
[PHONE BUZZES]
Hey, it's Arthur. I gotta take this.
- Okay. I'll go brief Wagner.
- [BUZZING CONTINUES]
Arthur, you okay?
Well, things could be better.
- What are you talking about?
- Some guy, he ambushed me.
He was looking for Roman's backpack.
- [GROANS]
- [CUT MAN] Hold still.
I got away, but not before he got
a few hits in on me, you know?
Oh, my God. How bad is it?
[GRUNTS] I got a hard head. I'll live.
All right. Where are you?
- I'm getting patched up right now.
- Which hospital?
Hospitals ask too many questions.
I got my own cut man. Hey, hold on.
Hey, Harold.
Just give me a second, all right?
Give me one minute. Thank you, brother.
[SIGHS] Morgan, listen to me
very carefully, all right?
These people are not playing games.
Whatever's in that backpack
that Roman gave me to pick up,
they want it, and they want it real bad.
Do they know I have it?
I don't know. If they do,
I damn sure didn't tell 'em about it.
[SIGHS] Okay, this guy.
Do you think you could identify him
- and describe him to a sketch artist?
- [SCOFFS]
We talked about this before.
I am not going to the police.
Arthur, you just got attacked.
Who knows when they'll find out
I have Roman's stuff?
Just tell us where you are.
We can come to you.
[SIGHS]
Please.
Mr. and Mrs. Foster.
What the hell was that?
Greg and I saw
your captain's press conference.
Then you know we're doing everything
we can to find your stolen painting.
Are you? Because we were
beginning to wonder
if you were only interested
in getting your face on the news.
If me standing in front of a camera
can help catch a murderer and a thief…
And what happened with the ransom note?
We have a suspect in custody,
and I assure you we are working
to answer those questions.
Well, it doesn't seem
like you have much to show for it.
Mr. and Mrs. Foster, we know how much
The Young Girl means to you.
Now I can assure you that Captain Wagner,
as well as our entire team
in Major Crimes,
is doing everything possible
to bring her home.
Now please let us do our job.
Don't bother. It's time we hired
our own private detective.
I think you've kept us waiting
long enough.
You're not listening to me.
You got the wrong guy.
No, we wanna believe you, Emilio,
but you did try to get away from us
in a stolen vehicle. Twice.
And then there's what we found
in your apartment.
Items consistent with the burglary.
- That's not mine. Never seen these before.
- Then why run?
You see, I think you started dating Cyrus
to get access to his museum,
and then you did
that whole Mission: Impossible act.
A theft, a murder, a ransom.
You had the whole thing planned out.
My relationship with Cyrus wasn't perfect,
but I would never hurt him.
Not even for $20 million?
Where did you hide the painting?
[EMILIO] I'm not hiding anything.
[KARADEC]
But you showed up to the ransom. What?
Did you get nervous you weren't
gonna be able to find a buyer?
Because I think you found out
about Rhys through Cyrus,
and Cyrus found out what you were doing,
and you couldn't have that.
Or maybe he discovered
this wasn't the first painting you stole.
I don't understand.
Oh, I think you do, Emilio.
Or would you prefer the name,
Jean-Baptiste?
[EMILIO] I only heard about the stolen
painting because Cyrus told me,
like… I'm not answering
any more questions.
Fine, don't say another word.
But this court order says
that you need to let us check
for any identifying marks
on your left shoulder.
Got this one cutting
an avocado like a jerk.
- Well, I'm glad you survived.
- [CHUCKLES]
What about you?
- Scars?
- [MORGAN] Mm-hmm.
I only have the one.
I'm pretty sure you've seen it too.
I don't… I don't think I have.
Oh, that's hard to believe,
given your powers of observation.
Summer 2010, Florence Art Festival.
Things took a very unpleasant turn.
I mean, I didn't see the gun,
but I heard the shot.
Luckily for me, it missed my artery.
Oh.
He's got a whole collection of 'em,
doesn't he?
That he does.
I served two years in the Colombian
Army. 27th Jungle Battalion in Putumayo.
Wait, look at the side of his hand.
Yeah, it's all red. Why?
You think he banged it up?
No, I think it's ink.
Emilio said he was a language instructor.
He probably graded papers with red ink,
but I didn't see any papers
in the apartments.
- And what do you do for work?
- I'm a language instructor.
Maybe he was doing it in an office,
and maybe that office is used
for something
other than just grading papers.
Guys, let's go!
She left.
Okay, so we're thinking Emilio might
have had another reason to be here.
- Like hiding the painting?
- Or the murder weapon.
- It's a lot of boxes.
- I'll take this room.
All right, let's get started.
Teaching languages could've kept
Emilio hopping from
one country to another.
That would be a good cover
for an international art thief.
[DAPHNE] Okay, there's nothing in here,
except for student paperwork.
- [OZ] Same.
- What do we have here?
- Whoo.
- [DAPHNE] Oh, wow.
I'll call a team to crack it open.
- [MORGAN] Uh, guys…
- [KARADEC] Yeah.
Looks like we found Jean-Baptiste.
Good afternoon. I'm Captain Nick Wagner
from the LAPD's Major Crimes Division.
Earlier today,
our detectives arrested an individual
we believe is responsible for the murder
of Cyrus Carrow.
While our investigation is not complete,
we will soon be returning the stolen
Rembrandt to its rightful owners.
Are there any questions?
- Did you inform the Fosters?
- Yep, we left word for them.
They'll be glad. There doesn't seem
to be any noticeable damage.
Hmm.
[MORGAN] Look who's here.
Detectives.
Ari, Miriam, what are you doing here?
We came to see the painting.
Morgan invited us.
["DRUMMA SOME" PLAYING]
You Arthur?
You a cop trying to blend in?
I'm a friend of Morgan's.
Let me just say what I gotta say
so we can get this thing over with.
I'm listening.
There was a dude hiding
in the back of my truck.
When I didn't give him what he wanted,
he reached for a blade,
then we got into it.
You get a look at the guy?
Just a couple of glimpses.
Then we spilled out into the street.
It all happened pretty fast.
Any information helps.
All right.
White dude, 50s, lean,
salt-and-pepper hair.
He had, uh, this big-ass goatee.
He also had a, uh… a tattoo
of some kind of bird
peeking out his shirt right here.
What are you doing?
We found pictures of some people
in Roman's backpack.
One of the guys was somebody
we couldn't identify.
[SIGHS]
That the guy?
Yeah, that's the guy.
Then I'm gonna need you
to come down to the precinct with me,
make an official statement.
I'm afraid my unofficial statement is
just gonna have to stand for now. Sorry.
Your life… Your life could be in danger.
What do you want me to do, huh?
You want me to sit in your lobby
till you catch him?
Look, just find the guy, all right?
Put a couple of your people on Morgan
and her family, 'cause
trust me, I'm good.
We done here? All right.
I'm giving you my number,
and you're gonna hold on to it.
And I hope you never see this guy
again, but the moment you do, call me.
All right.
- You invited her?
- Yes, I did.
You think the Fosters are going
to loan out that painting anytime soon?
This will be the last time Miriam Weisman
will ever be able to see it,
not to mention the fact that, technically,
it belongs to her,
so none of this is fair.
Well, it's our job to enforce the law
even when it's not.
[GROANS] Oh, yes,
thank you for the reminder.
I'm sorry for the quick exit,
but I'm due in Palermo tomorrow.
I have another stolen art piece
that requires my services.
Oh.
Is she a provocative young girl this time?
She's a landscape.
Well, Rhys, it would seem
that your job here is done. Thank you.
- The pleasure's all mine.
- Mm-hmm.
And for what it's worth,
I really wish The Young Girl was being
returned to Miriam Weisman too.
You all right?
Yeah.
That's not her.
What do you mean?
She doesn't have my eyes.
My father always loved
that we had the same eyes.
I think she's right.
Karadec, look at the whites of her eyes.
That's too bright.
In 1645, painters used chalk mixes
or lead white
that had like a creamy softness to it.
This is brilliant and glaring,
more like a modern titanium white,
which didn't exist
for another three centuries.
In 1645, no one could've painted
with this brightness and clarity.
The materials didn't exist.
I'm sorry for the quick exit,
but I'm due in Palermo tomorrow.
What do you mean it's not her?
Morgan says the one we found is a fake.
Wouldn't the museum have authenticated it?
No, not a small museum like the Harbogh
and when it comes from a reputable
collector like the Fosters.
So, we're supposed to believe
she knows just by looking at it?
Well, there's an authenticator
on the way, but I believe Morgan.
Where is she?
You can take the next one, right?
Thanks, Gina.
Well, I'm not normally one
for prolonged goodbyes, but in this case
- Do you have it?
- I'm sorry, what?
- Do you have the painting?
- Are you serious?
You haven't opened that briefcase once
since you've been here.
What's inside of it?
So, that's why you asked me about my scar.
Because you think I'm Jean-Baptiste.
And then I did what?
Stole the Rembrandt
while no one was looking,
folded it up and hid it in my briefcase?
[ELEVATOR BUZZES]
I can think of one way we can clear it up.
They're just confidential client files
in there, Morgan.
Nothing else, I assure you.
All right, there's an unfortunate amount
of paperwork that
goes with art recovery.
I bet, yeah.
Okay, as you wish.
[GRUNTS]
[STAMMERS] I'm sorry, I really
thought the one we
found in Emilio's office
- was fake and you
- Stole the real one. I picked up on that.
So, you've been playing me
this whole time?
Was any of this real?
No.
- [ELEVATOR BELL DINGS]
- It's not real.
Morgan, what is this?
We asked Daphne to pull the Fosters'
insurance policy
over the last ten years.
Now, take a look
at what they were insuring in 2019.
- That's a lot of art.
- Mm-hmm.
Now look at what they insured
a few years later.
- Only 12 items.
- [MORGAN] And this year?
- Just one.
- That's right.
Now what are the odds that of all
the priceless art that they own,
the one piece that gets stolen is the
only one that happens to be insured?
I think the art that I saw
at their house was fake.
[BUZZER SOUNDING]
Just like the painting we found,
I tracked down black market sales
for eight of the pieces listed
on the Fosters' 2019 insurance rider.
Then we did some more digging.
They're in debt to some bad people.
So, you're saying the Fosters arranged
for their own painting
to be stolen for the insurance money?
They love that painting so much,
they weren't willing to give it up
even when they went broke.
All right, where is this going?
One of them must have gotten an idea.
Now I don't know if
it was Greg or Linda.
Let's arrange to have
our painting stolen
and returned to us
without anyone knowing.
That way, they could keep
both the insurance money and the painting.
[SQUEALS]
But why give over the real thing
if you don't have to?
Maybe they didn't. Maybe the Fosters
had a forgery made for the museum.
[MORGAN] Right,
probably by the same expert
who forged their other ones
on their walls.
I don't think
they'd want their beloved painting
getting sliced out of a frame, do you?
So, the museum never had
the real painting. It was all a setup?
That's right,
but nobody robs a museum for free.
You guys remember the watch?
I think that Greg and Linda gave Cyrus
the watch as a down payment.
And by the time Cyrus realized
the watch was a fake,
he'd already stolen the painting,
making it look like
it was Jean-Baptiste
so we wouldn't suspect him.
What he didn't know was
the painting was fake too.
He decided he wanted to double-cross
the Fosters by putting it up for ransom.
But when the Fosters found out,
they confronted him
before he could find out
the painting was fake.
And by that time, he'd already given
the painting to Emilio,
who hid it in his office,
believing it was real.
The Fosters couldn't risk
the truth getting out.
They needed to keep him quiet,
so they killed Cyrus.
Again, I'm not sure which one.
Maybe it was both of them.
Fake watch? Are you kidding me? Come on!
Again, not sure which.
All right, we need
to bring the Fosters in for questioning.
They have a yacht.
The Fosters have a yacht.
I saw a picture of it at their house.
It was called the Easy Monet.
If they go out to ditch the murder weapon,
they could try to get away
with murder and the painting.
Forrester, go grab Ozdil.
Go to their house.
Karadec, how are your sea legs?
["DEADLY VALENTINE" PLAYING]
You know this place?
- Yeah, a friend docks his boat here.
- [BOAT HORN BLOWS]
- [KARADEC] That's them.
- They're casting off. Let's go.
From this day forward, for better
For worse, until death do us part ♪
- Yep.
- Yep, it's real, or, yep, it's
The underlayers are inconsistent
with the pigments available
at the time the real Rembrandt
was painted.
With this ring I thee wed
With all my worldly goods I thee endow ♪
Mr. and Mrs. Foster, LAPD!
To love and to cherish
According to God's holy ordinance ♪
["DEADLY VALENTINE" CONTINUES]
This is Lieutenant Soto.
I'm being followed again.
Arthur, where are you?
I'll send you a black-and-white.
I'm just passing Temple and Grand.
I'm actually on my way to you.
Maybe this guy will follow me
all the way to the station.
- [PHONE BUZZES]
- Yeah?
Fosters aren't here.
Looks like they left in a hurry.
- They took everything of value with them.
- [OZ] Mm-hmm.
So, they're making a run for it.
All right, thanks.
So, you're sure it's fake?
It's the best I've ever seen.
How did the lady know?
She didn't have her eyes.
Can you see his license plate?
No, he keeps weaving in between the cars.
It's a sedan of some kind,
but this guy really knows
what he's doing.
Listen, I'll be at you in about 15,
20 minutes, tops.
All right, well, then just stay
on the line with me
until you get to the precinct.
Look, I'll be fine, all right?
I'll see you soon.
- Arthur.
- [LINE DISCONNECTS]
Forever let him hold his peace ♪
LAPD, stop this boat right now. Right now!
- Put the gun down.
- ["DEADLY VALENTINE" FADES OUT]
Is that a flare gun, Greg?
You could really hurt someone with that.
Put it down!
I wish that I could,
but the LAPD has a few rules,
and not dropping my gun
in a situation like this is one of them.
Greg, what are you doing?
Please stop, okay? This has gone too far.
- I'm handling it, honey.
- You're not handling it.
I don't think anyone else needs
to die today, Greg.
I don't know what you're talking about!
Maybe we got it wrong,
but I'm sure we can work something out.
Just put the flare gun down.
Honey, please. It is over, okay?
Where are we gonna go?
How are we gonna live, okay? [SCREAMS]
- [FLARE GUN FIRES]
- [GRUNTING]
- Where?
- It's back here.
[LINDA] What?
Wait, where did it go?
It was right there. I swear to God.
Where did it go?
["COUNT YOUR BLESSINGS" PLAYING]
What you got in there?
Would you believe me
if I said it's schoolboy's trainers?
How'd you know?
[MIRIAM] She doesn't have my eyes.
Does it matter?
I'm not a murderer, Morgan.
- Just a thief.
- I do recover art for insurance companies.
Hmm. And every once in a while,
you just decide to hang on to one?
So, you are Jean-Baptiste?
You know, I don't even know
who picked that name.
It wasn't even
the first piece of art that I stole.
You can complain to my partner
after he arrests you.
I don't think you called him yet.
And I'm wondering if that's
because you don't want The Young Girl
going back to Greg and Linda
any more than I do.
And you know that I can get her back
where she really belongs.
You stole the painting
just to give it away?
You expect me to believe that?
I do.
- You're lying.
- I'm trying to do the right thing, Morgan.
[SCOFFS]
I have no way of knowing
if you're just gonna keep it for yourself.
That's true. I guess
you're just gonna have to trust me.
["BURNING" PLAYING]
Believer ♪
Took me over like a fever ♪
Wait, do you guys think the Fosters
are gonna get off easy?
The Fosters would have
to have a great lawyer for that.
I don't think they can afford it.
But what a waste though, you know?
If I had that kind of money,
I'd buy a Malibu mansion or a WNBA team.
Oh, no. I'd start my own animal rescue.
- Okay, now I feel bad.
- He did that on purpose.
- Yeah!
- He definitely did. I'll get more drinks.
He could live at my animal shelter!
As I go ♪
- Still no sign of Arthur?
- Not yet, Lieutenant.
I'll call again,
but if he doesn't answer this time,
- put a BOLO out on his truck.
- You got it.
Hey. Heard you guys do
an end-of-the-day thing here.
Thought I'd find you.
If you're gonna fire me, can I throw
a few more drinks on this tab first?
Oh, you're not fired, Morgan.
Too valuable for your team and to me.
I'm not letting you go.
- This how you apologize?
- No.
[CHUCKLES]
So, what's it like sitting out
on this arrest? It's not like you.
Oh, no, I didn't sit out.
I was kicked out,
but, uh, thanks for asking. It sucked.
Well, don't worry.
You'll be there on the next one.
Did you hear about the painting?
I did. Oz thinks the Fosters tossed it
in the ocean.
That tracks.
They seem like the kind of people
who are like,
"If I can't have her, nobody can."
Is that really what you think happened?
I don't know. I'm just a consultant.
We questioned the yacht's crew.
One of them said
that they saw a man in a wet suit
slip over the side of the boat
holding something.
So, I was thinking
maybe it was Jean-Baptiste.
Come on. I don't think that guy exists.
No?
[KNOCKING ON DOOR]
What you gonna do
when you get to the water? ♪
[ARI] Grandma.
What you gonna do
when you get to the water? ♪
[GASPS]
[GASPING] It's my girl.
My Madeline.
[LINE RINGING]
Into the sea, out of fire ♪
[PHONE BUZZING]
All that burning ♪
Into the sea, out of fire ♪
All that burning ♪
Into the sea, out of fire ♪
All that burning ♪