(mysterious music)
- Oh, hello, ladies!
You two look wonderful today. What's the occasion?
- Oh! We now need an occasion to look good?
- No. Of course not.
- We're having our portrait painted today.
- Oh, right! Yes. I hope it turns out well.
- You know, william, I was thinking:
Perhaps we're not exposing susannah to enough art.
- At her age? How much art appreciation
Are we hoping to cultivate?
- Well, you're attempting to cultivate an understanding
Of maxwell's electromagnetic equations.
- Oh, yes. That's easier to understand.
(scoffs) - this is something, isn't it?
That painting that was stolen from the louvre
Still hasn't been recovered. It's been two weeks.
- Oh? - It's called the mona lisa
By leonardo da vinci.
- Da vinci, a scientist!
- And a painter.
Although I hadn't heard of this piece.
- Do they have any leads yet?
- Ah, "authorities, surprised by the brazen theft,
Are searching for their chief suspect,
Art student jacques martine."
Well, we must be off. Wish us luck.
- Good luck. - Mm-hmm.
(susannah babbling)
- Little susannah is growing just like a weed!
- What are you suggesting?
- It's a compliment. Growing quickly.
- Oh! Yes. Thank you.
(phone ringing)
Detective murdoch.
Aboard the ship?
Has the victim been identified yet?
(tense music)
- Who's this, then?
- A mister jacques martine.
- A frenchman. Coming to canada for a visit?
- Or fleeing the scene of the crime.
Mr. Martine here may be wanted for the theft
Of a valuable painting called the mona lisa.
- La gioconda.
The cultured among us know her as la gioconda,
The joyful lady.
- Yes. Well, the joyful lady
May be the reason for this murder.
(mysterious music)
(indistinct chatter)
- He was struck on the head several times.
I'll have to check for defensive wounds.
- And no sign of that painting?
- If he had it.
- Likely motive, if he did.
He lets someone in, they see the mona lisa
And kill him for it.
- Oh, I read about that painting in the paper.
Do we think this man stole it?
- Possibly.
- Fresh paint on this palette. But there's no paintings.
- Hm. Any thoughts on the murder weapon?
- Ah, something small,
Approximately a few centimetres in width with sharp edges.
- Right.
Let's get all of these items down to the station house
And see if there's a murder weapon amongst them.
Oh. Uh, mr. Dubois?
- Ah, yes.
I've been working on this boat for the last three years.
First time I see something like this.
- Hm. Don't cabin stewards work solely in first class?
- Ah, indeed, sir.
- Then how is it that you came upon mr. Martine?
- Um, I-I was asked to-to check that everyone had gone up
To the main deck to disembark and, uh,
The door was open. I-I saw him on the ground.
- Was there anyone else here,
In the hallway, or one of the other cabins?
- No, sir.
- Right. Did you move anything in this cabin?
- After I found him dead? Of course not. No.
- Thank you.
- This is outrageous! - Do you know to whom
You are speaking?
- What seems to be the problem?
- This constable will not permit my daughter and I to pass.
We would like to disembark this instant.
- There's an ongoing murder investigation, I'm afraid.
And my constable here is only doing his duty.
- Oh, do you really think we would have anything
To do with that? - Well, I wouldn't know
That yet, would I?
- My name is lady isabelle.
And this is my father, arthur rawley,
The duke of surrey.
- Oh, sir. I do apologize.
Uh, your grace. Constable, let them through.
Oi, you in the suit.
You can't go down there. It's a crime scene.
(speaks italian)
I was only looking for something.
- And you left it in your berth?
- No, no. Think mr. Martine has it... Have it.
- Oh? - My match case.
I-I lend it to him, but, uh, he did not return it.
Can I go to see?
- I'm afraid not.
You knew the dead man, did you?
- No, no! H-his room was next to mine. That's all.
But you know who I did see him with?
Lady isabelle.
She would sneak down to the third-class lounge.
- Is that right?
- This is decidedly not how my first day in canada
Should be progressing.
- I understand. However, we do need to ask
Your daughter some questions.
- I don't see what my daughter has to do with any of this.
- I can answer for myself, papa.
- What were you doing consorting with passengers
In third-class quarters?
- Isabelle?!
- I wanted to talk to other artists, papa.
- Artists?
What about that nice chap in first?
- Ugh... - Lord william?
He collects etchings. - No, real artists.
Like monsieur martine.
- Yes. How well did you get to know mr. Martine?
- Oh, well, hardly at all.
I was never alone with him, of course.
- Who else was there during your visits?
- A very, uh...
Forthright woman.
She had studied in paris
And claimed to know all about painting.
- Hm. - I saw her in the company
Of mr. Martine many times.
- And this woman, did she and mr. Martine seem close?
- No.
No, in fact,
I saw them argue.
I think they rather hated each other.
- Hm.
Right.
I'll be needing this woman's name.
- Miss emily carr.
Thank you for coming in to answer some questions.
- I would say you're welcome, but it would be a lie.
So, please, be quick about it.
- You were familiar with the victim,
Mr. Martine, were you not?
- I was.
- Apparently, the two of you fought.
(sighs) - we had a disagreement,
But I wouldn't call it a fight.
- What did the two of you argue about?
- Art.
He was enthralled by the old masters.
I said that he should be open to a more expressive style,
Not to strive for mere verisimilitude,
But to paint with the mind's eye.
- So a professional disagreement.
- Art is more than mere profession,
Detective murdoch. It's a vocation.
- Did you ever visit mr. Martine's cabin?
- Oh, good heavens!
No. I stay well clear of any and all men.
I'm telling you, I barely knew him.
- All the same, I would like a print of your fingermarks
Before you leave, miss carr.
- As you wish.
(curious music)
Who did this?
- I did.
- It's a serious question.
- It was a serious answer.
(carr gasps)
- You have a strong sense of colour and vitality.
- Yes, I would think I do.
- Sincerely...
It's very good.
I feel almost humbled.
- Well, I certainly hope she's innocent, murdoch.
She's obviously a woman of taste.
- Hello! - Oh!
- What have you, miss hart?
- I've completed my postmortem,
But I haven't typed up my report just yet.
- Do you know the cause of death?
- Well, he died from his head injuries.
Nothing more. - I see.
- All the blows caused a subdural hematoma.
He was hale and hearty otherwise.
Oh!
I also found these in the wounds.
- Pieces of mirror?
- I think so.
- Odd.
(indistinct chatter)
Mr. Martine's suitcase.
- Oh? Entrancing.
Just a hint of annoying smile
As though she has a secret.
- Well, they all do, don't they?
(suitcase lock clicks)
- Ah-ha.
- Hm.
- This must be that bloke's match case.
- Manganese oxide. Azurite. Verdigris?
- Oils. Spike lavender.
Mr. Martine must be making his own paints.
- What's this? - What's that?
- What's what?
(curious music)
- Well, judging by the blood here,
I'd say we've found our murder weapon.
- Hello?
- Yes?
- I-I'm looking for mr. Bernier.
He's painting a portrait of me today.
- I sent him home.
- I'm sorry?
- Everything is cancelled.
There's just so much to do before tomorrow night.
- Wh-what's happening tomorrow night?
- We received a call from lady isabelle herself
Wanting to exhibit her paintings, here!
Isn't that wonderful?
- Yes, quite. But we had an arrangement.
- It's not every day that we get the chance to display the works
Of such a distinguished artist.
Of course you understand.
- - Yes. Of course.
Oh! Detective watts! What are you doing here?
- I'm looking for a painting.
- Well, good luck.
- I don't have time for any enquiries.
- I can see you are a busy man.
But I only have one question.
Surely you have time for one question?
- Very well. (chuckles)
You're a detective, I gather?
- Ah, now it is you who has a question.
(chuckling) - well, go on, then.
- Has anyone come in here looking to discreetly sell
A sixteenth-century painting called the mona lisa?
- The mona lisa? - Mm.
- Oh, good heavens, no! No.
But a man did come in this morning
Looking to sell some renaissance art.
- Oh? - Yeah.
Something seemed off to me. I didn't trust him.
I told him to leave.
- Did he give you a name?
- Yes. Hm. I doubt it was his real one. He t--
He told me that if I changed my mind and wanted to, uh,
Discuss a sale, he would be staying
At the park embassy hotel under the name mr. Raphael.
- Mr. Raphael. Thank you, mr...
- Lash. - Lash.
(curious music)
- Huh.
- Even though the suitcase was in the water,
I've managed to pull a fingermark from this.
- Must be something to paint with,
But I've never seen anything like it.
- Ooh! Very interesting.
- You have a match?
- Miss emily carr.
- Perhaps art is not her only vocation.
- I've told you I barely knew him.
- Miss carr, your fingermarks
Are on what very well could be the murder weapon.
- That's impossible.
That's the murder weapon?
Well, I might have picked it up,
But I certainly didn't kill him with it.
Mr. Martine was a very direct man.
He asked me if he could borrow some of my brushes.
I said no and then he went into my cabin,
And he took them for himself.
- And what did you do?
- I waited until he was out of his cabin,
And then I took them right back.
And then I saw that thing on the table,
And I picked it up to look at it.
- What's this used for?
- It's some kind of drawing aid, I imagine.
- Why did you not tell me before that you broke into his cabin?
- I'm no fool. I knew it would look as though I was guilty,
But I-I'm telling you,
I would not kill over my brushes,
Even if they are the best sable.
- I'll be needing your whereabouts
For the last 24 hours aboard the ship.
- I was in the breakfast room,
Then I was in the library all morning;
Many people saw me.
But the night before,
I was by myself.
I require my solitude.
- Unfortunately, solitude does not
Constitute an alibi, miss carr.
- 17 brookham drive.
I'll be there for the foreseeable future.
- See that you are. Detective murdoch may want
To speak with you again.
- Yes, constable. May I go now?
I'm expecting a delivery of my painting supplies.
- Ah, yes. Thank you.
- Pardon me. I couldn't help overhear.
Are you a painter? - Yes.
- Well, how wonderful.
Would I have seen your work anywhere?
- Well, that depends.
Were you at the salon d'automne in paris?
- No, but that does sound grand.
Do you paint portraits?
- On occasion. - Would you accept a commission?
My daughter and I were to have our portrait painted today
And it fell through, and I know you've only just met me,
But may I ask if you would paint it?
- Well... - I would pay handsomely.
- I don't have a studio.
- You could come to my house.
How about tomorrow morning?
- You said that you would pay well?
- Absolutely.
- All right, then. You have yourself a painter.
Fabulous. (chuckling)
- Have you found anything else, miss hart?
- I ascertained that time of death
Was approximately nine o'clock that morning.
- So not miss carr;
She was seen in the library the entire morning.
- Mm. - Oh.
Mr. Peruggia. How can I help you?
- I was, uh, told you have my match case.
- Ah, yes. It's being held for you at the front desk.
- Grazie.
Oh, dio !
Is that... A dead man?
- It is.
That's mr. Martine. You knew him.
- Of course. I-I-I did not recognize him
After his soul departed. (chuckling nervously)
- Well, uh, have a good day.
- Oh! Of course. Arrivederci.
(soft mysterious music)
- It's strange.
(door opens)
- What is?
- He knew mr. Martine
And didn't recognize him.
- Very few of us look the same in death.
- I feel I must warn you,
My brushwork is bold and expressive.
- Oh!
- You've heard of the fauvist style?
- Ah, no.
- Mm. It means you and your baby
Won't look pretty as you would in, say, a fragonard.
- Oh! (laughs nervously)
- When you told me it was your husband
Who had accused me of murder, I did think twice.
- Oh, well, he was just pursuing his investigation.
- And being a foolish man in the process.
- So, did you have any idea that mr. Martine
Could have stolen the mona lisa?
- Not at all.
Your husband didn't ask you to question me, did he?
- Oh! Of course not. No, I was just curious.
- I bet it was that lady isabelle
Who told your husband to suspect me.
No, I just remembered something.
But I don't want to gossip.
- Oh! You can tell me.
- She seemed very chummy with mr. Martine.
I overheard her saying something about money being no object.
And then she asked him
When she could come to his cabin.
- Do you think they were talking about the painting?
- Possibly.
Or...
She was taking lessons.
Her work is uneven, at best.
- Here she is, dr. Ogden.
Fresh as a daisy.
- Thank you. Hello, darling. Are you ready?
(susannah coos)
Aww.
- A little to your left.
- Oh.
- You still tinkering with that contraption?
- The shards of mirror found in the victim's wounds
Match this broken mirror here.
But it's curious. - How so?
- This is a front-surface mirror,
The type of thing used for a reflective telescope.
- Whatever the murder weapon is,
We need to find that bloody painting as quick as possible.
Whoever has it, is most likely our killer.
- Watts called earlier.
He's following a lead to a hotel.
- I just may have some information, as well.
- What've you heard? - Miss isabelle was overheard
Talking to mr. Martine about purchasing something expensive.
- Overheard by whom?
- Miss emily carr. - You talked to her?
- Uh, she's painting a portrait of myself and susannah.
- Oh. Why don't you two go and talk to the lady?
And tread carefully.
We don't want an international incident.
(light music)
(indistinct chatter)
(knocking on door)
- Hello! Lady isabelle?
- It's all right, maxine. You can let them in.
- We just have a few questions.
- I am just off to my show. Can't talk, I'm afraid.
- Well, this shouldn't take too long.
- We're investigating a possible exchange of money
Between you and mr. Martine.
- I loathe discussing money. It's so vulgar.
- What a lovely tapestry.
- Oh, please don't!
- The mona lisa will not be returned to you.
It is evidence in a murder investigation.
- But I gave that poor man 2,000 pounds for it
The day before he died.
- Why did you not tell me about this?
- I couldn't say I spent that money in front of papa.
He says I spend far too much on art.
- It's stolen property. - I know.
I couldn't resist.
- We believe mr. Martine was killed for that painting.
- I didn't kill him!
I couldn't have!
Please, you must believe me!
- Do you have any proof of your purchase?
A receipt,
A letter,
Witness?
- You've put lady isabelle in the cells?
- She was in possession of the mona lisa.
- Do you really think she killed the frenchman?
- That remains to be seen.
She claims she purchased it from mr. Martine
The day before he died, but has no proof.
- If she bought a stolen painting,
What was she thinking?
- That she is a lady from a wealthy family
And above the law.
- Look at that satisfied smile.
She's obviously been up to no good.
- It's an interesting painting.
- Interesting? Murdoch, look at it.
The subtle brushstrokes,
The way the light dances across her eyes,
The sfumato technique.
- The what?
- Sfumato.
Layers of thin glaze
That create those smoky shadows.
It's beautiful.
- What's beautiful?
- We found the mona lisa.
- That's impossible.
- Why do you say that?
- Because I've just found her.
- Where on earth did you get this?
- Remember when I told you I had a lead
On a possible suspect at the park embassy hotel?
- You got a painting of the mona lisa from a hotel?
- Yes. - So where's the person
Who had it? Did you bring them in?
- No. - Bloody hell, watts!
The person who had it
Is more than likely mr. Martine's killer!
- I found the mona lisa with the person who bought it.
I was too late to apprehend the seller.
- Talk us through precisely what happened.
(watts): I was told that mr. Raphael,
Likely not his real name, was in room 312.
I knocked on the door.
(man): Is that room service?
- No. Uh, please open the door. I'm interested in a painting.
(man): You're too late. Please leave.
(watts): But then, I spotted the man with the service cart.
(curious music)
Commandeered the cart and knocked again.
Room service.
(man): Come in.
- The door opened, and I went inside.
Your champagne.
- Wonderful.
I wanted to drink a toast...
To a beautiful lady.
- Well, that will have to wait.
- Excuse me?
- Toronto constabulary.
I'm detective llewellyn watts
And I'm placing you under arrest for murder and theft.
- But I bought the mona lisa. I didn't kill anyone for her.
- Prove it.
(watts): The man told me he entered the hotel room
And saw the painting.
He then was spoken to by a man behind a screen.
- Leave five thousand dollars on the table
And turn to face the wall.
(watts): The man did what he was told.
When he heard the door shut, he turned...
And thus he had bought the mona lisa.
He never saw the seller's face.
- So which one is real?
- Well, they appear identical.
- That's what this device is used for.
- Yes, what is that?
- Well, I-I don't know the name, but if you peer...
Yes!
- Peer through the top.
Can you see the reflection of the painting?
- The mirror's half-broken, but yes.
If I look down on it, I can see it.
- That's what mr. Martine was doing aboard the ship.
He had the real mona lisa and used this device
To help him make a copy.
- Oh! What he used to aid him
Ended up being used to kill him.
- Poetry aside,
We still don't know who swung the bloody thing.
- We still have lady isabelle in our custody.
- So if she had the fake, it's more than likely
That she's telling the truth, that she bought it
Off mr. Martine.
So, the killer sold the real one for more money.
- The question is...
Which is which?
(indistinct chatter)
- Ah. Good morning, sir.
I've already been to the park embassy hotel,
But neither the clerk nor any of the bellboys
Can remember what mr. Raphael looked like.
- Ah. Very well, henry.
Could you keep an eye out for a telegram for me?
- Of course. May I ask what it's about?
- I've asked the louvre to send any and all information
That will help us discern
The real mona lisa from the fake.
- Ah.
Does it really matter, sir?
- What do you mean?
- If they look identical, I say the more the merrier.
- I'm not sure the louvre would share your sentiments.
- Yeah.
Of course.
- Nanny is just changing susannah.
(carr sighs)
Oh! Well, it shouldn't take too long.
- No, it's not that. I just...
I can't...
I was painting so freely in paris and now...
- Oh! Well, I'm sure it's wonderful.
May I take a look?
Oh!
Oh, well, I see. Yeah, well, it's-it's very colourful.
- Damned by faint praise. - I love it, truly.
- No, you don't. It's insipid and muddy.
- Nonsense. You have such a-a... Free style.
- Even that police inspector painted better.
- No. - I'm wasting my life.
- No! I'm n-not!
You're ruining it! You're ruining it!
- You can't ruin something that was never anything.
(clatters)
(sighs)
- To think of a rawley tossed into jail
Like a common criminal.
No one can ever know of this.
- Is that really all you care about?
How it reflects on the family?
I am your daughter!
(brackenreid clears throat)
- If I may?
We'd like to discuss the case.
- Oh, this case is a farce.
Do you really believe lady isabelle killed a man?
- There's been a development.
- Go on, then. - We now have in our possession
Two mona lisas,
The original and a copy.
If your daughter had the copy,
Then it is possible she purchased it from mr. Martine.
- I told you I...
No, wait, that's impossible.
I couldn't have bought a mere copy.
- If you had the real mona lisa,
It might appear that you had killed for it.
- This is ridiculous.
Neither of them is the real painting.
- How do you know that?
- My secretary told me just this morning
That he heard j.P. Morgan
Was approached by a seller looking to quietly
Sell the mona lisa.
- How does your secretary know this?
- His cousin is j.P. Morgan's art agent.
The seller told mr. Morgan
The sale must happen quickly in toronto.
I had planned to tell you.
- That is very interesting.
- I assume the arrest of my daughter
Won't be in any of the papers.
- You have our word.
- We'll just be needing one more thing from you.
(rawley sighs)
- What's your plan?
- Draw the seller out.
I had the duke call his secretary
And get me the details of the person
Who contacted mr. Morgan.
- So we can contact him?
- Yes. Now, he sold the first quickly
And for relatively little money.
But for this one, he went to mr. J.P. Morgan.
- Who I've heard pays hundreds of thousands
For a painting by an old master.
- So this could be the real one.
And, therefore, the person selling it...
- Is likely our killer.
I just want to say right now:
I'm not pretending to be j.P. Morgan.
- But, sir. - Not today, murdoch.
I'm just not feeling in a thespian mood.
I'll be out front chasing him down if he runs off.
- Huh. As you wish.
- So, who is going to be mr. Morgan?
(curious music)
Are you sure?
- He's done it before.
Henry, I've contacted the seller.
You are to go to the park embassy hotel
Tomorrow morning at eight am.
- Who am I pretending to be?
- Well, you're far too young to play mr. J.P. Morgan,
So I've created a buyer, a friend of mr. Morgan's.
- So a rich man, you say.
- I suppose.
- I'll be needing a new suit.
- Was the new suit really necessary?
- Sir, pierpont is worth over 80 million dollars.
I need to look like his representative.
- And what's that?
- Oh! Pierpont is fond of cigars.
Thought I would partake.
- The hat looks ridiculous.
- Ruthie bought it for me. - Lose it! Give.
Now go in there and see if he's got the bloody painting.
- Right. Uh, how much should I offer for it?
- As much as you want, henry. We aren't actually buying it.
- Oh. Of course. (chuckles)
Not sure I approve of this plan of action.
- It's the best one we have.
(knocking on door)
(coughs) - yes. Hello. Enter.
- What's your name?
- Mr. Reginald templeton.
- Are you a copper?
(coughing)
- Don't be absurd!
Do I look like an uneducated ruffian to you?
- What's going on?
- He's signalling.
That man!
- He's using him as a lookout.
- Toronto constabulary! Stop!
- What're you doing?
- Nice suit.
Too bad about the shoes, copper.
(tense music)
- Police! Stop!
(panting)
(grunts)
Stop!
(tires screeching)
(grunts)
(panting)
- Seems like he got away, sir.
- Get that suit back to where you got it from.
- Really? I-- - now!
(panting)
- There are several paintings here.
A landscape...
A still life,
Both signed jm. Jacques martine.
- The killer didn't just steal the mona lisa.
They stole all mr. Martine's paintings.
(gasps) and there she is.
- A third mona lisa? Will wonders never cease?
- This is most likely the real one.
- Huh. It makes one ponder:
If we cannot distinguish between the real and the fake,
Why reject the forgeries as inferior?
- Because one is worth a fortune, and one isn't.
- But consider a lithograph,
Or a piece of music, or a choreographed dance.
They are repeated and each iteration
Is considered a work of art.
- Yes, but in each of those examples,
Repetition is inherent in the creation.
A forgery of a painting is intentionally deceitful.
- Mm. - He's got you there.
- Well, no. I agree.
The intent with which these were made is different,
But if we cannot tell them apart,
We simply enjoy them all.
Therefore, is authenticity relevant
To one's aesthetic experience?
- It's relevant to what it's worth.
- Why?
- Because it just bloody is! That's why.
- Sir, if I may?
Does this man look familiar?
- It's the cabin steward, henri dubois.
The one who found the victim.
- It's signed jm, 1910.
- How did mr. Martine paint the cabin steward last year?
Did they know each other?
- This is not a portrait of henri dubois.
This is a self-portrait
Of jacques martine.
- Bloody hell. We've been tricked.
- Why would mr. Martine switch identities with dubois?
- Because martine was wanted for the theft of the mona lisa.
Better to be declared dead than to be chased
By the french police the rest of your life.
- Have this image printed, murdoch,
And have it distributed everywhere.
- He's likely planning to leave toronto.
- Oh! Detective murdoch!
(laughing) - oh. Mr. Peruggia,
Have you not retrieved your match case yet?
- Oh, y-yes and I wanted to thank you again for that.
- Ah. You're welcome.
Good day. - Oh.
I overheard that you found the mona lisa. I am so happy.
- Yes, we actually have three now.
We believe one to be the original.
- You don't know?
- Well, I have an idea.
- No. A true lover of la gioconda would know.
- Yes. How would one know for certain?
- Ah. One could hear her calling to you
Through the ages in italiano.
- Anything more concrete than that?
- No.
- Good day.
(tense music)
(door closes)
(footsteps approaching)
- Have you seen this chap before?
- Never seen him before.
- I'll take a scotch, please.
Hello, miss carr.
- Oh.
Inspector.
- What's this, then?
- It's nothing. It's a bad habit.
- I think drawing is one of my best habits.
- You have talent. I do not.
- Ah. It's not going well.
I know how you feel.
I've thrown many of my paintings in the fire before.
(chuckling) - hm.
I tried painting a portrait of a mother and her baby.
Heaven knows I need the money, but it never came alive.
- Maybe you're not a portrait painter.
It can be quite inhibiting trying to paint real people,
Especially when you have to flatter them. May I?
- It's a...
It's a church out in british columbia.
It's in a thick forest.
It's so beautiful there.
- You should go out west,
Paint outside amongst nature.
Paint what you love and paint how you want to paint it.
- Do you think it's that simple?
(laughing) - no, not at all.
- And if I fail?
- Then you fail doing something that you love.
Better that than the alternative.
- How so?
- Well, you'd spend time doing something that you enjoyed.
The end result doesn't really matter then, does it?
- I do long for british columbia.
Thank you, inspector.
- Can I keep this?
- It's worthless.
- Not if I like it, it isn't.
- Will you be paying for the lady?
(door closes)
- Bloody artists.
- Probably starving.
(chuckling)
- Excuse me, sir! A moment.
- I'm in something of a hurry.
- Oh. Paintings to sell, is it?
(grunting)
- It's quite a good likeness.
- Indeed.
I suppose it would be worth more
Now that the artist is dead.
- Enough with the charade.
I know it's a self-portrait.
- Ah.
- You killed an innocent cabin steward.
- He saw my paintings.
- Yes, your paintings.
You are uniquely talented.
Why turn to forgery and murder?
- My original work was called derivative.
Old-fashioned.
So I figured perhaps originality is overrated.
Perhaps I could make more mona lisas
For the world to enjoy.
- You didn't paint them for edification.
You made them for profit.
- You think so little of me, detective.
- You killed mr. Dubois and assumed his identity
So that you could sell the paintings.
You had to have known that the authorities
Would be looking for the mona lisa.
- Perhaps.
- You weren't just trying to throw
The police off your trail.
- I don't know what you're talking about.
- You were working with someone else.
And if they also believed that you were dead,
You would be free to sell the paintings
And keep all of the profit.
- If it was my plan,
It isn't anymore.
I've changed my mind about the mona lisa.
It's not just about the money, detective.
- Oh. Then please tell me what it is about, mr. Martine.
- Maybe I had a partner.
But I won't give you his name.
If I can't have her, why shouldn't he?
(suspenseful music)
- A true lover of la gioconda would know.
- You don't have to give me his name.
I know who it is.
Mr. Vincenzo peruggia.
(door opens and closes)
Henry!
- Yes, sir. - There are only
Two paintings here. Where's the third?
- I... Don't know, sir.
- And where is mr. Peruggia?
- The italian man? I haven't seen him around.
- He must've known which one was the original and taken it.
- I'm sorry, sir. - Right.
Alert the border crossings.
He's likely leaving the country and headed to europe.
- Right away.
(sighs)
(curious music)
- For a brief moment in time,
Da vinci's masterpiece was in toronto.
- It's probably long gone by now.
There's been no sightings of that mr. Peruggia anywhere.
- He's likely on a ship or a train
Traveling under a false name.
- False names, a false body,
False paintings.
- I've been thinking about what you said, watts.
- Oh?
- About the aesthetic experience.
I think a fake mona lisa is good enough for me.
If you don't mind, murdoch, I think I'll take one home.
- Of course.
- Give margaret something to crow about.
Eeny-meeny-miny-mo.
No, I'll take this one.
Good night, gentlemen.
- Oh, I don't trust her smile.
- Hm.
(mysterious music)
You could try to find another artist.
- I've had two failed attempts at a portrait.
I'm beginning to think that I'm cursed.
- You could paint it yourself!
From this photograph I took of you.
(chuckling)
- Hm. Oh, no, william. I've tried painting a few times
With no great success. I find it so hard
To get the proportions right.
- Well, then, come with me.
- What is this?
- It's called a camera lucida
And you peer through it like this. And...
- Oh! I can see the photograph.
- Yes! It allows you to perfectly
Duplicate the proportions.
- Ha!
Oh!
You know, william,
I really wish I came to the office
To see the real mona lisa. Was she very beautiful?
(sighs) - I had the original
And the copies
And, to be honest,
I couldn't tell the difference.
- Oh! Well, I do hope
The louvre recovers the true one.
- No doubt they will.
- Thank you, william.
- I bought you these new colours, as well.
- Oh, huh.
- Ochre. Apparently, that's very popular these days.
- Oh, right.
- Ah, ha, ha. What is that?
- It's a painting. What's it look like?
- Well, where did you get it?
- Do you know what this is?
(sighs)
- It's the mona lisa by leonardo da vinci.
Well, a bloody good copy, anyway.
- A copy? - Aye.
(scoffs) - I don't want a copy
Of a painting sitting on our mantle.
It's common. - Margaret!
- Besides...
It's like her eyes seem to follow me
Everywhere I go. Mm, I don't like it.
- Well, I do. And she's staying.
(scoffs)
(chuckling) - uh-huh.
(sighs)
Ah, no.
I don't... What's so special about you?
Ugh.
(margaret sighs)
(mysterious music)
Subtitling: Difuze