:22:02
That particular Deardon
was one of his last.
:22:04
A work of total confidence and maturity.
:22:09
Deardon was my discovery,
so I feel proprietary about his work.
:22:13
I pestered Forrester
to part with it for years.
:22:15
Frankly, I was thrilled
when he finally agreed.
:22:22
Let's set it on the stand.
:22:26
It's a Bertolini. Startling, isn't it?
:22:29
lt was his model for a larger version.
:22:32
I bet the price's equally startling.
:22:34
It's not for sale.
lt was given to me personally by the artist.
:22:37
lt has great sentimental value.
:22:38
If you don't mind me asking, what's
your relationship with Chelsea Deardon?
:22:42
Her father and I were very close.
I watched little Chelsea grow up.
:22:47
Mr. Logan, you're leaning.
:22:50
Sorry.
:22:52
Recently, Chelsea and I have lost touch.
:22:55
Her sensibility in art doesn't interest me.
:22:58
She's a performance artist.
:23:01
- Happenings, very ephemeral experiences.
- She's what?
:23:04
- A performance artist.
- I hear she's quite talented.
:23:07
Thank you, Roger.
:23:12
It's very powerful.
:23:14
- It is.
- I'd like to see the other side.
:23:19
How refreshing.
:23:21
Most clients prefer to see the front.
:23:41
That was one of the shiftiest
performances I've seen.
:23:47
What happened to the sixth sense
you're so famous for?
:23:50
- Doesn't it feel too neatly tied up?
- Kelly, it's dead.
:23:54
There's no signature.
The charges are dropped. It's done.
:23:58
- Can I get you a cab?
- I can get my own cab, thanks.