MC: Well, the way they went in was the way I'd planned to go in, you see, so I had masterminded the plan. But they had . . . uh, Bobby had his own contacts in regard to the fencing of stolen material. And I have no doubt that Bobby had made a deal with somebody else. And if I remember correctly, the deal was in the vicinity of $100,000 to get the bulk of the paintings. So that's what they got for stealing the paintings.
JS: But Myles and Bobby, you guys had been to the Gardner on a number of occasions . . .
MC: Many times.
JS: And talked about doing this. It was sort of like a, y'know, kind of a dream heist.
MC: It wasn't a dream heist. It was a good heist . . .
JS: Not a dream heist, but I mean, you guys had discussed it, and . . .
MC: Yes, "dream" in the sense that it was a good score that we'd be taking down. And then, of course, once these two guys died — actually, all three of them died — I lost contact with whomever it was they had made the arrangements with to sell the bulk of these items to. And that's where the trail ends. Uh, and there's constantly little leads and stuff like that that come forth . . .
And you've approached the FBI, or spoken to the FBI several times about your knowledge, right.
MC: I've spoken with the FBI actually once.
So do you have any inkling where the paintings are right now?
MC: Uh, not really. I have a, y'know, there's one little lead — there's actually two leads — and one leads out of the country and may involve a trip out of the country to a foreign country to see if they can be retrieved.
Anything else you want the public to know?
MC: I was framed! I'm an innocent man! [Laughs.]
But I like that line "If I'd done it, I'd have taken the Titian."
MC: If I had personally done it . . . in reality I had made that statement because the Titian [his Europa] was the most valuable item there. And it would've been the biggest score to get the Titian. But to get it out of the museum would've been a problem, because, as you probably know, the Titian is huge. And it would be very hard. Like, I did not condone cutting them out of the frames.
I was gonna ask what you thought of that.
MC: I thought it was in very poor taste, and very poorly done. You never do any good to a painting by cutting it out of its frame. The only time it's necessary is if the frame is bolted to the wall and you didn't know that going in and you didn't come in with a pry bar to remove it from the wall. Or if it was alarmed to the frame. In that case, it'd be understandable why you'd take it out of the frame. But to my knowledge, it did not have that kind of a situation within the museum. And so, as far as I'm concerned, it was not a wise thing to do.