Blue Moon is in the black at last. After many months of struggle to get out of a financial rut, there's finally some positive news with the bottom line.
Before there's a chance to celebrate, Maddie gets a call from the police. They want to talk to her about a painting. It's one with a particularly fascinating subject.
Philip Wright, the painter who did the work named 'Charles' Treasure,' shot himself in front of a wall of photos from the woman's modeling days. How is it, the police want to know, that the artist could be so interested in his subject without her knowing about it? Does Maddie get some kind of sick thrill out of thinking someone else may actually be that devoted to her?
Like any good detective, Maddie tries to get her hands on the evidence. She puts down the profits on the work.
And once David gets wind of this, if Maddie thinks she'll hear the end of it, she's got another think coming.
Also with a vested interest is their next client, Philip's brother Charles. Hayes takes him to see the picture, in the hope he'll get comfort from it, and maybe let her in on what else was afoot.
There is, indeed, more to the portrait than meets the eye. Philip and Charles weren't getting along toward the end of the former's life. Touched by the man's emotional story of an ill-fated trip to Paris, Maddie gives the painting to Charles. That is far from the last she'll see of it. Sadly, it is the last she'll see of Charles.
The bad luck surrounding this one picture frame just won't go away.
Charles' intentions weren't entirely honorable. That's a running theme with many people interested in this painting. Yet another patron of the arts shows up--a frustrated curator, wielding a pistol--eager to find out just how many museum pieces Maddie may have installed in her home. And if not there, where?...Off to the dead man's loft.
A different painting, a Dutch classic, is at the root of the gunman's quest, and a bill for its storage lurks somewhere nearby. Once he finds it, the criminal tears off, leaving our detectives in a very bad spot. They had better free themselves, and soon.
Turns out Philip wasn't interested in depicting Ms. Hayes just because he liked her. The direction of her gaze led to the mysterious hideout of 'The Duchess.' It becomes a race to see who can scoop the precious target first.
Or would that be, last?
The law was also on the trail of the hot item. The cop takes a unique exception to normal procedure here, and decides to help himself to the results. Not so happy about this turn of events is the owner of the auto paint shop behind them.
This leads to a dangerous duke-out that brings new meaning to the term secondary coat.
For Blue Moon, justice always wins the day. It's just sometimes, it's a real higgledy-piggledy mess when it does.