02x05 - Art for Monkees' Sake

[bunniefuu]

Well, hello, Peter.

Hi, Mick.

Oh! Bll! Oh, my head.
I'm dying, I know, I'm dying.

Hey, that-Peter, that's great, man.
It almost looks real.

What are you copying doors for?

What have you got against doors?

Well, my head.

It hit him right in the head, man.

That's a stone drag.

Look, Peter, if you wanna go
ahead and copy something,

why don't you go to the art museum?

Then you can get inspired
by the great painters.

What are you doing here?

I've come here to be inspired
by the great painters.

I'll give you an inspire!

Why do you use your hands for?
I told you not to use-a your hands.

Forgive this indiscretion.
Did you draw this picture?

Yes, I did.

You're a very talented boy.

Thank you. I play bass too.

An artist and a musician.

We should k*ll 'em both.

What do you think this is,
a pool room?

This is a fancy art museum.
You got to work with the finesse.

Oh. You want I should poison him?

Restraint, Chuche, restraint.
Do you wanna steal this painting?

Ah.

Then we can use this boy.

Ah.

Now, here was a classical
painting worthy of your talent.

Why don't you paint
something like this?

You're right.

Here we come
Walkin' down the street

We get the funniest looks from
Ev'ry one we meet

Hey, hey, we're the Monkees
And people say we monkey around

But we're too busy singing
To put anybody down

We're just tryin' to be friendly
Come and watch us sing and play

We're the young generation
And we've got something to say

Hey, hey, we're the Monkees
You never know where we'll be found

So you better get ready,

We may be comin' to your town

The Monkees brought
to you by Kellogg's

K-E double L, O double good,

Kellogg's best to you

Hey, boss, I don't get it.

That's why I'm the brains of this
outfit, and you're the muscle.

We're gonna use his copy of the
painting, then we make a switch.

And then what do we do?

Then we sell the painting
and make a fortune.

And then what do we do?

Then we buy tickets to Europe.

Hey, that's expensive.

You wanna save money?
I'll get you deported.

Gee, it's late. I wonder where Peter is.
Boy, I hope I didn't insult him.

Well, you know, to insult somebody,
they have to understand you.

Oh, yeah, that's true.
Well, he should be here any minute.

Voilà! That's French.
It's finished.

Beautiful. Beautiful. What's with
the hat? The hat's not needed.

It's Mike's hat; it's knitted.

I know it's knitted,
but it's not needed.

How did you know it was knitted?

I can tell it's knitted,
but it's not needed.

Oh, for a minute,
I thought you knew Mike.

Who's-a Mike?

Shut up.

Let me belt him one, a little one.

This time I'm thinking about it.

Hey, the curator's coming.

Let's hide him in the basement.

What are we doing eating
breakfast with Mr. Schneider?

Oh, Peter wasn't here,
and we got lonely.

Peter's not-you mean he's
not back from the museum yet?

Maybe he's in trouble.

Huh. How much trouble can
you get in in a museum?

- He's in trouble.
- He's in trouble.

What's a matter this time?

All you have to do is
copy a little painting.

I just don't feel it.

Hey, Duce, I can make him feel it.

Hey, easy, Chuche, easy.

Leonardo da Vinci couldn't
be rushed, you know.

Maybe if you told me something
about the painting.

Well, this guy, he's a classy guy.

He's a guy who would have a lot
of class, have a lot of money.

The guy is a good dresser, you see.

With the ruffles, with the style,
this guy got a lot of style.

With a big hat, he get all the
girls, you understand?

Well, I checked in the
exhibition room. He's not in there.

He must be somewhere in this building.

Hey, why don't we check the studio?

That's a good idea.
You check studio one,

I'll check studio two,
and you check studio three.

Okay.

- Okay. Excuse me.
- Excuse me.

- Uh, Mike.
- This one here.

I gotta get over to studio four.

I'm gonna run right over to studio three.

Studio two is where I'm
gonna look for Peter,

because he's lost.

There, it's finished.

It's finished?

Yep. Wait. No. Wait. Wait. Wait.
There is one little spot. That's fantastic.

- Hold it. Hold it.
- For what?

- Ah.
- Hold it. I got an idea.

- What?
- What? What?

Why don't I look in studio one,
you look in studio three,

and Davy, you look in studio two?

- Right.
- Okay, right.

Okay.

I'm going upstairs to look around.
When he's finished, you entertain him, eh?

You know, that's a very
interesting pose;

I'd like to work on you
when I'm done here.

I'd like to work on you too.

You would?

Excuse me, but I want to, uh-

You want what?
To be an artist? Huh.

You could never be an
artist; you have no beard.

Uh, hey, uh, don't you
ever use brushes?

Brushes? A waste! A true artist must feel

the painting in the
canvas, in his soul.

Have you seen a-uh, uh,
have you seen a, uh, a guy,

he's blonde, and he has blue eyes,
and he's kinda weird looking.

Weird looking? Who are you to
call somebody weird looking, hm?

You come in here and insult me?

Is it because I'm a high
school dropout, hm?

Get out! Get out of here!
Wait a minute.

That'll be fifteen hundred dollars.

Wh-wh-what for?

For my painting on your shirt.
Someday, it'll be worth a fortune.

Everything's okay upstairs.
Is it finished?

Yes, it's finished.

Now, boss, now!

Hello?

Is this the guard?

That's right.

Well, this is the curator.

The warning bell has sounded
for closing up here,

and you should be here right now.

We'll be right up.

Now, boss?

Business before pleasure.
Peter, sit down.

Peter, what's the most
important thing for an artist?

- Pain.
- He's-a got a point.

- Pain.
- Shut up!

The most important thing
for an artist is to suffer.

Hey, I'm suffering already!

Hey, Pete, listen, have you got-

Shh!

Gentlemen, gentlemen. From now on,
please try to be more punctual.

Quick, you-you hide it
in the basement.

When the joint's closed,
we'll finish the kid off.

Well, I've looked everywhere.
He's just not any place around.

Did you check the basement?

Oh, nobody but a fool
would paint in the basement.

He's in the basement.

Keep suffering.

Raise the left corner a
little bit. That's too much.

Raise the right one a bit.

Yeah, that's better.
Yeah, that's the one.

Hey, Pete.

- Peter?
- Peter?

- Hey, Pete.
- Peter?

Have you seen Pete?
Have you seen Pete?

Peter? Look, look, look.
There's a mummy.

Hey, there's son of mummy.

- Oh.
- Oh, hi, Pete.

Peter. Peter. What are you doing over
here tied up with a gag in your mouth?

What're you doing here tied up
with a gag out of your mouth?

I'm suffering for my art.

Suffering-oh, isn't that nice?

That's a beautiful copy, Peter.

Great.

Yes, the man who painted
that was brilliant.

That means they've
switched the paintings.

Hey, look, there's the curator.

We'd better tell him about the painting.

Uh, pardon me, Mr. Curator?

Please! The museum's closed;
you'll have to leave.

We can't leave.
We have to find the-

Guard, guard! Guard.

Hey, Mike, Mike!

Uh, pardon me, you don't know me,
but I'm, oh, well, uh, look.

Um, the paintings that you have
here have been switched,

you know, somebody's stolen them.

- Mike?
- I mean, stealed them.

Mike?
That's one of the thieves.

- Oh.
- I mean, thieven. I mean.

You double-crossed us, huh?
You got some new boys.

Um, listen-

You still here? Go away!

Hey, there, guard, ol' buddy.

Listen, there's an evil,
vicious, and rotten-

Hey, Micky, that's the other thief.

You copped out on us, kid.
Could have made you real great.

- Mr. Curator, excuse me, sir.
- Again? What do you want?

That painting over there is fake.

Fake? Oh, nonsense, nonsense, please.
It's not nonsense.

No, there are the famous
Frans Hals brush strokes,

influenced by the Venetian period.

Wait, wait-

Oh, nobody can emulate those. No.

No, you see, this painting-

But wait a minute, you
don't-there's been a robbery.

- A robbery?
- Absolutely.

- Ridiculous.
- No, it's not.

There are too many safeguards.
During the day, two guards protect it,

and at night, I personally
turn on the alarm.

Now, the painting is surrounded
with invisible beams.

Only with special glasses
can you see them.

That's peachy. What do they do?

Should anybody try to
remove the painting,

the beams will be broken,
and then no one, no

matter who they are, can escape.
They will be taken to jail in five seconds.

Five. Mm-hm!
Observe.

A triumph of security!
No one can steal from my prison.

No one! I-!
Get me my lawyer!

Get me my... ah!

Man is totally crazy.
He's crumbling.

Caught like a rat in his own trap.

We've got to do something quick.

What we need to do is sneak into the
museum tonight and switch the paintings.

That curator saw us, and
he's gonna think we're guilty.

Equipment.

Flashlight. Blow torch.
Super duper X-ray glasses

and three cheese on rye sandwiches.

Okay, men, mission:
Ridiculous.

Gathering our team of experts
from the four corners of the earth,

we will be a task force of deadliness,
efficiency, and teamwork.

The Manchester Marauder.

Gee, thanks, Peter;
I really needed that.

That's okay, Davy, any time.

Ah!

The Connecticut Counter Spy
combines nerves of steel,

cool eyed perception,
and some fancy footwork.

Peter, watch the pl-well,
it's not real, anyway.

Ouch!

Their ability to make quick, irreversible

decisions show why they
were picked for this group.

The modest but towering Texan
needs no introduction. Hm-hm.

His stoic-like ability to endure pain
shows why he's a leader among men.

Last but not least is the Los Angeles
Leopard, known in Peoria as the Panther Man,

and somewhat hampered by low
resistance to the night air.

- Quiet!
- Sorry, man.

He is the only weak link in our chain.

Peter, Peter, steady. Peter.

Guys, you're supposed to get out
of the way before I come down.

- Rweow!
- Shh!

- Come on.
- Rweow!

Oh!

- So there it is.
- Rweow! Rweow!...

It's the picture.

- Glasses, okay? Put the glasses on.
- No, you put the glasses on.

What do I do?

You look at the invisible beams.
Can you see the invisible beams?

- Yeah, yeah.
- Groovy! Where are they?

- Where's-where's the beams?
- What are you doing?

Mike, where are they?
Mike? Oh, here they are.

That thing was almost
a thousand years old.

Oh, well, thank goodness
it wasn't new.

Hey, Mike, Mike, I ca-I
can't see anything.

Well, of course not, dummy; it's not any
good for anything except an invisible ray.

Well, well, show me where
the invisible ray is.

- Well, it's right-ah!
- Ah!

It's right over here.

Oh. Ooh, I can see it.
I can see it.

See the invisible-no,
that's Peter. Oh.

No, I can see it.
Right there.

- Easy. Easy.
- Careful.

Watch it.

Oh. Oh, oh.

- Easy.
- Ooh, ah!

Shh!

Okay, it's coming through, Mike.

- Okay.
- Okay. Easy.

- Steady, steady, steady.
- Oh, steady. Oh, steady.

Beautiful.

- Get the other painting.
- Get the other painting.

- I forgot it.
- He forgot it.

- Where is it?
- Well, where is it?

- It's up on the roof.
- It's up on the roof.

- Well, go get it!
- Well, go get it!

- Okay.
- Okay.

Ah!

Mike.

Follow that guard.

Come on, Peter.

Shh! Cat burglar, cat burglar.
Rweow.

That was close.

He's in for a lot of trouble.

Why, because we're switching
the paintings?

No, because I put hot mustard
on those sandwiches.

Ha. Ha.

He doesn't suspect a thing.
Rweow!

- Good, we're finished.
- Yeah. Give him the glasses.

Easy.

Watch it. Watch it. Careful.
Watch the beams. Watch the beams.

- Easy. Easy. Easy.
- That-a-baby.

Get out of here.

Why did you-why
did you-why did you stop? Why?

We have traffic coming the other way.

Don't they know it's a
one way rope ladder?

I don't think so.

Who is this? What is this person?
This is our ladder, sir.

- We were going to escape.
- Excuse us. We, uh-

Uh.

Oh. Oh, hello. Ha ha.
How are you doing? Um, hi.

Rweow!

Going somewhere, gentlemen?

Well, uh, actually, we'd sort of had our
hearts set on e-escaping, if you were-

Get 'em!

She's a wonderful lady
and she's mine all mine

And there doesn't seem a way that
she won't come and lose my mind

It's too easy humming songs
to a girl in yellow dress

It's been a long time since the party,
and the room is in a mess

The four kings of EMI are
sitting stately on the floor

There are birds out on the
sidewalk and a valet at the door

He reminds me of a penguin,
with few and plastered hair

There's talcum powder on the letter
and the birthday boy is there

Why don't you cut your hair?
Why don't you live up there?

Why don't you do what I do
See what I feel when I care?

Now they've darkened all the windows
and the seats are naugh-ga-hyde

I've been waiting for an hour,
I can't find a place to hide

The being known as Wonder
Girl is speaking, I believe

It's not easy tryin'
to tell her that I shortly have to leave

Why don't you be like me?
Why don't you stop and see?

Why don't you hate who I hate
k*ll who I k*ll to be free?

Why don't you cut your hair?
Why don't you live up there?

Why don't you do what I do
See what I feel when I care?

Why don't you be like me?
Why don't you stop and see?

Why don't you hate who I hate
k*ll who I k*ll to be free?

[It's too easy humming songs]
Why don't you cut your hair?

[To a girl in yellow dress]
Why don't you live up there?

[It's been a long time since the party]
Why don't you do what I do

[And the room is in a mess]
See what I feel when I care?

And now, ladies and gentlemen, we have

a classic example of
seventeenth century art,

The Contessa Mondrella by Flom.

The toast of three continents.

And over here,
we have this statue of...

uh, it's a new exhibit. Ha ha.

An assemblage of iron and, uh...

heh heh heh, human beings.

Uh, follow me.

? No heartaches felt, no longer lonely ?
? Nights of waiting finally won me ?

? Haaa all rolled up in you ?
? And now with you as inspiration ?

Peter, I am awful glad that
you gave up painting.

I got a new hobby now.

- What's that?
- I'm building things.

Oh, heh.

Oh, I could hide 'neath the wings

Of the bluebird as she sings

The six o'clock alarm
would never ring

But it rings, and I rise

Wipe the sleep out of my eyes

My shavin'razor's
cold and it stings

Cheer up, sleepy Jean

Oh, what can it mean that

To a daydream believer

And a homecoming queen

You once thought of me

As a white knight on his steed

Now, you know
how happy I can be

Whoa, and our good
times start and end

Without dollar one to spend

But how much, baby,
do we really need

Cheer up, sleepy Jean

Oh, what can it mean that

To a daydream believer

And a homecoming queen

Cheer up, sleepy Jean

Oh, what can it mean that

To a daydream believer

And a homecoming queen

Cheer up, sleepy Jean

Oh, what can it mean that

To a daydream believer

And a homecoming queen

Cheer up, sleepy Jean

Oh, what can it mean that

To a daydream believer

And a homecoming queen

In this generation
In this lovin' time

In this generation
We will make the world shine

We were born to love one another
This is somethin', we all need

We were born to love one another
We must be what we're goin' to be

And what we have to be, is free

Love is understandin'
We gotta be free

Love is understandin'
We gotta be free

We gotta be free

We gotta be free