All language subtitles for Numb3rs.S03E03.1080p.AMZN.WEBRip.DD2.0.x264-CasStudio-HI

♪♪

(beeping)

♪♪

Hey, Jimmy,

check Gallery One, will ya?

Hey, Jimmy?

You there?

(alarm blaring)

(electrical buzzing)

(alarm blaring)

(electronic beeps)

DAVID:
No sign of an outside entry.

Guy must of come in during
business hours and laid in wait.

He had key-card access
to the entire building,

could've hid out anywhere.

Any witnesses?

No. He was wearing a mask.

Guards didn't get a look.

Well, this thing looks
pretty high-tech to me.

What'd they get?

Pissarro painting.

- Estimated worth: 22 million.
- Yeah?

What is it?

Paris au Printemps,

Après-Midi.

You speak French?

There was a girl,
once upon a time.

Who's that?

Museum curator, Arthur Ruiz.

He was in bed
when he got the call.

Excuse me, guys,
I got it, thanks.

How are you doing?

Don Eppes, FBI.

- Hello.
- So, uh,

what can you tell me
about the security here?

Well, we're a small museum, but
the system's state of the art.

Any changes in routine,
security guard roster changes?

You're thinking one of my people
had something to do with this?

Well, we're gonna
need to see a list.

Any security footage
you might have.

Of course, of course. That, uh,

that Pissarro was
the most valuable piece we had.

And frankly,
the timing couldn't be worse.

And why's that?

The painting was scheduled to
begin a major tour next month.

Well, you got insurance, right?

Actually,
the Pissarro was on loan

from a private owner
in Glendale.

He's out of town on vacation.

He must be a generous guy,
loan you something so valuable.

Actually, one of the advantages
of loaning a painting

to a museum is the savings
on an insurance policy.

Assumption being
that a secure museum

is as safe as a bank vault.

I'll get you
that personnel list.

So much for safe assumptions.

So much.

You're not leaving that?

So, so I'll... I'll clean it up
when I get back.

This isn't "Animal House,"
Charlie.

Right, this is my house.

Yeah, I've been meaning
to talk to you about that.

It's not for sale.

I'm not interested in
buying the house back.

Just like to see you put
more into maintaining it.

It's a cup of coffee,

- it's a bowl of cereal.
- Yeah?

What about the leak
in the attic, huh?

The garage door needs
fixing, cable is out.

- Cable's out?
- Yeah.

Since when is the cable out?

Since our resident math genius
forgot to pay the bill.

Look, I don't want to be a nag,

I just want you to live up
to your responsibilities.

All right, all right,
I'll tell you what.

- Make a list for me.
- Okay.

I already did.

DAVID: Running down the museum
employees, but no one's popped.

And we have eyes on the video.

So this guy beat
a card-entry system,

lasers and motion sensors.

- He's a pro.
- Hey, guys.

Which is why we have
to move fast

if we have any hope of catching
him or finding this painting.

Jack Tollner, from the
Art Theft Unit out of D.C.

This is David Sinclair, Megan Reeves.

- Morning.
- You got here pretty quick.

Yeah, well, 22 million
buys you a red eye.

- There you go.
- Art Theft Unit, huh?

I always pictured you guys
for horn rims and bow ties.

Well, Lasik surgery took
care of the horn rims,

and I've never been
partial to bow ties,

but if you like them,
I'll go out and get myself one.

Oh, what are we looking at here?

Well, based on the paperwork
the museum sent over,

I'm guessing a piece like
this may be difficult to move.

- Because of its value?
- Because of its provenance.

Provenance?

The paper trail of ownership,

the documentation of
a piece of art's origins --

and this Pissarro has
quite a tainted one.

What do you mean, by tainted?

This isn't the first time
this painting's been stolen.

First time was by the Nazis.

Nazis stole the painting?

The provenance shows a pattern of
Nazi looted art that I've seen before.

- Looted how?
- When the Nazis came into power,

they passed laws forcing Jews
to register property,

it provided them
virtual "shopping lists."

They looted homes by day,

shipped the families off
to the camps the same night.

Right and no witnesses.

Except for the few who survived.

All right, well,
what we do know is that

whoever stole the
Pissarro had skills.

Well, the Bureau has a
database of career art thieves;

I'd start there.

All right, I'll get on it.

This is the perfect
way to show that electric

and magnetic forces are
two sides of the same coin.

Right.

Hey, guys, what, uh,
what are we doing here.

Oh, this screw is attached
to this battery by a magnet

and the current running through
the wire is causing that screw to spin.

Let me guess, show-and-tell day?

Yeah, Charlie and I are preparing
a joint lecture on circular motion.

Yeah, the movement is governed
by Fleming's Left Hand Rule.

Our lecture's also looking
at the Coriolis force.

It's the same principle
that causes hurricanes

to spin counterclockwise
in our hemisphere.

So, what's happened?
What's up?

A Pissarro was
stolen last night.

The father of
Impressionist painting.

Pissarro, I'm sorry?

At, uh, The Roland Museum,

they were in and out
less than six minutes,

so we got a database of
art thieves, names, M.O.s.

I'm figuring you can get
through it faster than us.

Maybe we could use a
Quadratic Discriminant Analysis.

Right, we can Look
for a combination of attributes

in this existing set of data
that match to a new set of data.

Good, good.

In this case, identifying
variables of a particular theft.

Type of art, museum, security,
specifics of the crime.

Because there has to be
something to this museum

or something about
this particular piece of art

that proved attractive
to your thief, right?

- Right.
- In a field of flowers,

we know that only certain types of
flowers attract certain types of insects.

An insect will alight
on certain flowers,

just like a thief will only be
attracted to certain targets,

based on
specific characteristics.

We know the characteristics
of this most recent theft.

And we can compare
that data to past thefts

using a Quadratic
Discriminant Analysis,

I mean, we should be able to
quickly and, you know,

efficiently boil down
your suspect pool.

All right, I came
to the right place.

MEGAN:
I might have a suspect here.

Eight years ago,
Mrs. Erika Hellman,

was notified
by the Art Loss Register

that the current owner of the
Pissarro was trying to sell it.

Art Loss Register?

Database of lost
or looted artworks,

I've often seen it come
into play in Holocaust claims.

Owner's dealer checked
the Pissarro against Registry,

found Mrs. Hellman's claim that
it had been looted by the Nazis.

She sued the owner,
his name's Peyton Shoemaker,

and she lost.

Apparently, there was
insufficient documentation.

Not surprising.

The Nazis were very good
at covering their tracks.

How old is this woman?

Um, according to the DMV,

she's 78.

There are people she
could have paid to do this.

Did you know about the
Pissarro's provenance, Mr. Ruiz?

Well, of course.

As the museum's curator,
I have to know.

Doesn't sound like
you were too troubled

by the indications that it
was once looted by the Nazis.

No, it was a concern.

But we did our due diligence.

The owner's paperwork
was in order.

We were satisfied with the
assurances he provided us.

Especially with the importance
of an acquisition like this one.

There are many paintings

with problematic
provenances, Agent Reeves.

That doesn't mean they're
all Nazi looted art.

Yes, but none of those
other paintings would have

increased your admission revenue
by 50 percent.

Look, I don't deny the Pissarro's been
a boon to a small museum like ours.

Perhaps the Guggenheim can
afford to be more selective,

but we can't.

So, one family's misfortune
will be another man's treasure.

The painting hung
in our home in Berlin.

When I was little,

my father used to pretend we
were the people in the painting.

He always promised
that when I got old enough,

he would take us
all there to Paris.

Obviously, did not happen.

I'm sorry for your loss,

and I hope you understand why I
would have to ask you about it.

Well, I hate to disappoint you,
but you, you have the wrong man.

Naturally, I would love
to have it back again.

You see, the Nazis,
they took everything.

Not just the painting.

I don't have one
photograph of my family.

But when I look
at the Pissarro...

I-I feel as if I was
seeing them all again.

You have any idea
who might have taken it?

(door opens)

No, but we know who stole it
70 years ago.

- Sorry, Nana, traffic on the freeway.
- Yeah.

- I got here as soon as I could.
- Oh, thank you.

- Hi.
- This is my grandson, Joel.

- This is Agent...
- Eppes, Don Eppes.

FBI.

From what I understand,

a federal court denied
your grandmother's claim?

They used the law against her,

same way they used it against
my great-grandfather in 1938.

We just didn't have the money
to continue the fight.

Mm-hmm.

What my grandson is saying

is that we did not lose
the painting

on the merits of the case.

We lost it

because my memory is failing.

My grandmother is the only

living witness
who ever saw the Pissarro

hanging in her father's home.

The rest of the family
were murdered by the Nazis.

The court would not accept

the failing memory
of an old woman.

I had seven
sisters and brothers.

You have family?

Yeah, I have a father
and a brother.

My mother passed away
a few years ago.

You know what loss is, then.

Well, I-I, um...

Look, I'm going to need
to take a look

at your phone
and your bank records.

Now, of course, this would
be with your consent.

Maybe you'd like
to take a painting.

Joel, please.

I did not steal the Pissarro.

Though I admit,

it has run through my mind
many times.

Surely you can understand this.

Family is our anchor to life.

We lose it, we're adrift.

You have no idea what it's like

to be the only survivor
of your family...

...and to have no idea why.

LARRY: I find this whole Nazi
association just so sadly ironic.

How do you mean?

Okay, just observe
this perspective.

Now, most artists at the time,
they painted street scenes

from the street level.

AMITA: Yeah,
but this was painted from a rooftop.

Why? Artistic choice?

Survival. Pissarro was Jewish.

He was living in Paris at
the time of the Dreyfus Affair.

Anti-Semitic mobs were
roaming the streets.

He feared for his life.

How do you know so much
about Pissarro, Larry?

Oh, my father was a painter.

Really? You never told us that.

It's not a memory
that I gladly inhabit.

Why, all this went
under the heading of,

what, parental disappointment?

He wanted you to be a painter?

He wanted me to see the world
the way he saw it.

Which is the folly
of fatherhood.

Tell me about it.

Why?

Are you and your dad
having problems?

You know, he's been getting on my
case about how I maintain my house.

LARRY: Now you see why I
sold my house, okay?

Renounce all worldly cares
for the more sublime pursuits.

(computer beeps)

I think we've got something from
the FBI's Art Theft Database.

Three similar robberies.

Analyzing past thefts for common
variables with our current crime,

I've succeeded in identifying
three suspects --

Michael Ness,

Ben Larkin,
and this is Ronald Wheeler.

TOLLNER:
Ness is in a prison in Turkey.

Now, there's a good time.

And I think Larkin's dead.

Yeah, murdered
three years ago in Kiev.

All right,
so we focus on Wheeler.

TOLLNER:
Wheeler's Canadian.

Database has a current address
for Wheeler in Toronto.

You know your art thieves, huh?

I'm impressed with how quickly
you combed through our database.

DAVID: Homeland Security has no
record of Wheeler entering the country.

All right. Well, no
surprise there, right?

No. He'll be traveling
on a false passport.

DON: All right, let's get his
picture out to everyone, right?

The hotels, airports,
train stations, you know?

And I'd start with
the upscale ones.

And within the last week.

You got a $22 million painting,

you're not going
to stay in some dump.

MAN:
He said his name was Gautier.

His real name is Wheeler.

Good morning, Mr. Gautier.

Mr. Gautier is not
entertaining visitors.

We're going to need
you to stay back.

Ronald Wheeler, FBI.

We want to talk with you.

Clear.

You smell gunpowder?

We just went way past
stealing high-end art.

Somebody's willing
to kill for this painting.

Mrs. Hellman's story's
not that unusual.

Similar thing
happened to a woman

who got several Klimt
paintings back

from an Austrian
national museum.

They fought her for years.

I mean, she said it's the only
thing that's left from her family.

MEGAN: I guess the federal
court didn't see it that way, though.

Not for the Hellmans anyway.

Or the owner,
this Mr. Shoemaker,

just has more bucks to throw
at a high-priced legal team.

Is he back from his vacation?

Why? Do you think
he stole his own painting?

Look, I mean, he tries
to sell it and gets a lawsuit.

Right. Maybe an insurance company
won't ask the same questions?

When did you get home?

Uh, about an hour ago.

- Didn't you hear me working outside?
- No, I didn't.

The re-circ pump on
the koi pond's on the fritz.

Yeah? Fish are okay?

Yeah, thanks to me
playing bucket brigade.

Don't you remember I told you
that that pump needed servicing?

The list? Yeah, right.

I'm sorry. I've been busy.
I'm busy.

Yeah, well, I've been
busy, too, Charlie.

You know, at your age,
I had a house,

a wife, and two kids
to take care of.

Any murders to solve?

No, seriously.

Any life-altering mathematical
advances to conceive of?

Oh, I see -- the same old story,
the same excuse for everything.

I don't need... You know what?

I don't need a lecture
on how to run my own home,

much less my life.

The Pissarro was inherited.

My father's the one
who made the original purchase.

Any idea from who?

A reputable dealer in Paris.

It was right after the war.

My father was in the Army
on leave in Paris.

He stopped by a shop,
saw the painting, fell in love.

MEGAN: And did
he question its origin?

After the war, it was difficult

to know where anything
came from.

So many had died or fled.

Well, how hard did you think
he, uh, actually tried?

My father bought the painting
from a legitimate dealer.

I have the paperwork.
He paid a fair price.

What, $12,000?

$12,000 was a great amount
of money in those days.

Well, still, it's
nowhere near the 20 million

you were trying
to get eight years ago.

DON:
I'm just curious -- does it...

even bother you at all knowing
where it came from?

Well, the fact is, I don't know
where it comes from.

No one does.

But they have their suspicions,
don't they?

And I understand with the taint
on the painting,

it'll be almost impossible to
get the price you're asking.

I'm not sure I understand
where this is going.

The Pissarro is insured...

For $22 million.

If you're suggesting what
I think you're suggesting...

Yeah?

I feel bad for Mrs. Hellman,
I really do,

but the court heard
all the evidence.

That woman did not stand
a chance.

Which is precisely why
I offered her a settlement.

30% of the proceeds
of any sale I made

if she agreed to drop her
claim against the painting.

And she refused?

Her grandson.

He threw my attorney's
offer in my face.

You know, I had my father's
honor to consider.

I had to match it against

the compromised memory
of an elderly woman.

If it were your father,
who would you believe?

(knock at door)

Hey. Ooh,
it looks pretty serious.

Huh? No. Oh, no. Come in.

- Yeah?
- No, actually, no.

I'm just, uh...
I'm balancing my checkbook.

The bank called.

I guess I overdrew
paying some bills.

- Oh, don't say it.
- What?

I'm a math genius, and I can't
even balance my own checkbook.

Right. I got
an earful from Dad.

I didn't say anything.

I should have known, you know,

this arrangement
of dad living with me

would just end up driving us
both completely insane.

Nah. I sort of get it now.

I mean,
why you bought the house.

It's, like, it gives you
an anchor, you know?

I mean, where you grew up,
your family.

What's up?

Why do you think
we were never religious?

Mom wanted a Christmas tree.

Yeah, exactly.

I mean, it's funny, right?

This case got you thinking
about that?

Yeah, a little bit.

Actually, I need some help
with this, Charlie.

Oh, great, and Dad wonders
why I can't get any work done.

Well, it's just I'm trying
to figure out where,

you know, whoever stole
the Pissarro would go next.

With Wheeler dead...

I imagine the options
are pretty limited.

Totally.

But I do suspect that
there are only a few places

that this painting might end up,

and that can be charted
with a diffusion map

using a network
diffusion proba...

Whoa, whoa, whoa.
Just slow down.

It's like a vehicle traveling
along a network of roads.

You know, cars can
go anywhere, right?

But a commercial truck
is limited

to how many routes
it can travel,

and if that truck is carrying
hazardous material,

well, then, the network becomes
even more restricted.

If it's carrying nuclear waste,

the network becomes
even more limited,

and there are only
a few destinations --

repositories --
where nuclear waste can go.

It's the same with the Pissarro.

There are only a few places
that it can travel.

Shoemaker might be right
on target with the grandson.

I have phone logs
going back to the time

that Shoemaker made
the settlement offer.

And?

Mrs. Hellman's grandson made
several calls to a private investigator

specializing in the recovery
of stolen artwork, Peter Tucci.

Why do I know that name?

He has, uh, pending charges
in Istanbul

related to the crime that Michael
Ness is doing time for in Turkey.

Ness is one of the art thieves
that Charlie pulled off the database.

Yeah, check this out.

Uh, the museum records its, uh,
security footage digitally.

I pulled an MPEG file from
about three months ago.

Nice.

MEGAN: Mrs. Hellman's grandson?

Is he casing the place?

He contacted Tucci
three years ago.

About hiring Ness
to rip off the Pissarro.

TOLLNER: But when Ness got caught,
he couldn't do the job.

Wow. Joel Hellman really
couldn't take no for an answer.

I don't know a guy
named Ronald Wheeler

or how he ended up dead.

Have a seat.

I haven't done anything.

Look, tell me about your
relationship with Peter Tucci.

That was over three years ago.

Right around the time
the courts decided against you.

(sighs) I lost my cool.

It was a stupid thing to do.

Look, I understand how you feel.

I mean with your
grandmother and all

and then not being
able to help her.

They embarrassed her.

They brought in doctors
and tested her memory

and made her live
through things that...

That's you at the museum,

taken three months ago.

I go a lot.

I don't know, somehow
it made me feel...

better to be close to it.

Not as good as having it would
make you feel though, right?

No.

Look, I told you,

I haven't done anything.

So what do you think?

Well, I think
he thought about it,

but I don't think he did it.

He didn't make any real efforts
to cover his tracks either.

Well, then we're back
to the owner,

Shoemaker,
and the insurance scam.

It's a nice theory, but so far
I can't find a paper trail

between Shoemaker
and our thief, Wheeler.

I mean, there's no payments
to a middle man, there's nothing.

That painting's
got to be somewhere.

AMITA: Yeah, the numbers
are staggering.

The Nazis looted hundreds
of thousands of artworks.

Nearly a fifth of all European
art at the time.

Yeah, there's still
a lot out there, you know?

Museums, dealers, collectors...

Yeah, it's just appalling --
blood trade.

I am starting to see
a pattern here.

You know, the heaviest flow of
art running along these networks.

With China being
a prime destination.

So we should start concentrating
on networks supplying to China.

(cell phone ringing)

(phone beeps off)

Wouldn't be Dad, would it?

It's a standoff.

Hey, here's another chestnut

from my rather exhaustive study
of the great artists.

Did you know

that Monet's father wanted
him to be a grocer?

Oh, yeah? Hmm.

Good thing he didn't listen.

Well, fathers imposing
their wills on their sons...

I tell ya,
that is the stuff of legend.

CHARLIE:
This is hardly so grand.

I mean, the last message
he left me equated

my refusal to take
out the garbage

with my supposed
commitment-phobia

and my failure to settle down.

There might be
some truth in that.

What?

Uh, I'm just saying...

Where were we? China?

Uh, yeah...

(muttering)

DON:
That smells good.

Where's Charlie?

I don't know,
working late I guess.

Or hiding from you.

He's been complaining?

You been giving him a hard time?

Hey, he owns the place,
you know.

Remember when I was looking
for a place of my own?

And I thought
that staying on here

was gonna keep me
from moving on.

What does this have
to do with Charlie?

Well, he just comes and he goes.

He has no idea how
to maintain a home.

Dad, the guy's got
a lot on his plate.

Hey look, I don't want
to be a pest.

I just want to make sure
that when the time comes,

he knows how to take care
of his own house --

his own family if
he ever has one.

Well, talk to him.
I mean, you can't just

ride him like he's a little kid.

Are you referring
to my failures with you?

Me? I'm a lost cause, pal.

What's up?

You had a tough day?

You know I had to interview

that Holocaust survivor
yesterday, her grandson today.

Oh, about that painting, huh?

I felt weird 'cause nobody
believes the woman;

it's like her life never existed

because there's nobody left
who remembers it.

Yeah.

You remember
my mother's cousin, Anna?

- Yeah, I mean...
- Yeah, it was the same way with her.

She got out before the war,

but she spent her whole life --
the whole rest of her life --

searching for her people.

Can you imagine that?

I mean, living that life
going through all that?

This woman finds a piece
and it gets taken away again.

Let me get you a plate.

Hey, did your mom's cousin
ever find anyone?

No, not a single soul.

LARRY: Oh, still taking your
meals outside the home, I see.

CHARLIE:
Still brown bagging it.

Is this some of your work?

It's my submission for entry
into art school.

One of the many life steps
I never took.

You're pretty good.

Don't mistake technical
ability for originality.

Almost every one of these

is a copy of a masterwork.

My father insisted that before
I attempt anything original,

I had to understand
those who came before me.

I mean, what is all this
red marginalia here?

When network analysis
came up empty,

I found these leads to China.

Still no sign of the Pissarro
so I must've miscalculated.

You know, some of the greatest
errors in cosmology

have come not from poor math,

but from poor assumptions.

What poor assumptions
am I making?

Well, current wisdom holds that
the picture's Nazi associations

have compromised its potential
for sale on the black market.

Compromised yeah,
but eliminated no.

Yet you can find no market
to which you can trace a sale.

China seemed the best bet.
Don came up empty.

Perhaps this Pissarro

is not for sale anywhere
because for some reason,

it's simply not saleable.

Even with the taint,
it's still worth millions.

Why wouldn't it be "saleable"?

No idea.

I'm leaving.

All right.

CHARLIE:
I think I've figured out

why you haven't been able
to find the Pissarro.

Using a computer
program that analyzes

fine art paintings
from enhanced photographs.

Now uses two criteria:
craquelure...

Craquelure?

It's a fancy word for the cracks
that form on the surface of a painting.

And those cracks form patterns,

which will give us an idea of
where or when a work was painted

because the pattern depends
on the artist's materials:

the paint, the brush...
even the canvas.

A painter in 15th century
Florence used different materials

than a painter in
17th century London.

Or a painter
in 19th century Paris.

See, different materials
and the vagaries of time

create specific
craquelure patterns

which we can analyze using
mathematical models.

- You said there were two criteria.
- Right, well...

The analysis also
looks at visual style --

the artist's actual
brushstrokes.

- Like a fingerprint?
- More like a signature.

See, with currency,
I used a wavelet analysis.

But with paintings,
I can use a more sophisticated

curvelet analysis,

allowing us to look at the art
in three dimensions.

Using curvelet analysis,

we can measure
the contours and the depth

of an artist's brushstrokes,

giving us a mathematical
expression

of the artist's
unique signature...

which we then use
to evaluate other works

attributed to the artist
to see if the same hand

did, in fact, paint them all.

Enhancing the museum catalogue
photo of the Pissarro,

I ran both analyses

and compared it
to other Pissarros

from museums around the world.

The results are undeniable.

This isn't a Pissarro.

It's a fake.

The Pissarro a forgery?

It's not possible.

Our math consultant did an
extensive analysis, Mr. Ruiz.

From a photograph.

With a computer's enhancement.

I'm sorry, but whatever
consultant you used is mistaken.

I'm afraid that's
not really possible.

Well, it has to be.

This painting underwent an
extensive authentication process

when it arrived here
a year and a half ago.

Then what about a switch?

What if someone changed the
painting since the authentication?

How?

Hmm? When?

I don't work at a museum,

but have you cleaned the
painting in the past year and a half?

Under the strict supervision
of the museum conservator.

Who also, by the way,
performed the authentication.

And that would have been done
on the premises, correct?

Yes. In our restoration
department.

The Pissarro was taken down

June 3rd for a cleaning.

Who did the work?

Me.

And you also performed
the authentication

on the Pissarro when
it first arrived here?

- That's right.
- And you're certain

that the painting you cleaned
on June 3rd is the same one

you authenticated 18 months ago.

Patrick has been
with me 20 years.

I trust his judgment completely.

So, there's no chance
you missed something?

This painting was the most important
piece we've ever displayed here.

Mr. Holden?

I'm certain that the painting
was the same one

that I examined a
year and a half ago.

You have your answer.

Is it you that also does the
museum catalogues, Mr. Holden.

For every exhibition.

When was the photograph
of the Pissarro taken?

I don't know.

What do you mean you don't know?

This particular photograph
was furnished by the owner.

Peyton Shoemaker
gave you the photograph?

Once in a while an
owner loaning a painting

does accompany the piece with
his own photographic documentation.

MEGAN:
So Shoemaker provided

the photo when he first loaned
the piece to the museum.

The same photograph your brother
used to determine it was a forgery.

Okay, so we're saying, what,
the stolen one was a fake.

But did Shoemaker know it?

He may even be the one
who had it made.

Forgery of his own painting?

Owners often have forgeries made

to protect their art
against theft.

But maybe Shoemaker was afraid
he'd lose his painting another way.

The Hellmans.

TOLLNER: Those type of claims
never really go away.

Collectors tend to shy
away from paintings

with questionable histories
for that very reason.

In other words, if the Hellmans

ever find more evidence
to support their claim...

They could go right
back to court.

He creates a fake
to hedge his bet.

Then he loaned it to the museum to
get the break in the insurance premium.

Shoemaker might even be trying
to pull off a double scam --

have the fake one stolen
for insurance, right,

and then sell the real one later
on the sly.

Why steal back
the fake Pissarro now?

I mean, it's been hanging on the
museum wall for a year and a half.

Hey, wait, what'd that guy,
that curator guy say...

- it was going on tour?
- Next month.

Which would have meant
another authentication.

Fool me once shame on
you, fool me twice...

Now, the question is...

where is the real Pissarro?

Right.

You can add, but you can't hide.

What's broken?

I've come with a peace offering.

French dip.

Thank you, but you
didn't have to do that.

There are a lot of things
I don't have to do, Charlie,

but I just do them
because I want to.

Just feel like you worry
about me too much, Dad.

Charlie, look, you're a grown
man, but you're still my son

and I'm still your father.

Okay, it-it's not about
the house or chores.

It's, uh, it's about...
accepting responsibility.

(slams book shut)

Dad, I'm a... I'm a full-tenured
professor at one of the most

prestigious universities
in this country.

How do you think I got here,
by slacking off?

You can do the math, Charlie,
we all know that,

but, uh, sometime, you're going
to want more for your life.

I know you can't see that
right now, but...

sometime, God willing, you're
going to have to make a choice

between one of your algorithms

and one of your kids
upstairs with the flu.

I have a kid with the flu now?

Charlie, I look at Larry,
you know, an-and I respect him,

but look at him --
he's all alone.

I mean, he sleeps on couches,

puts his work ahead
of relationships.

You got to start somewhere.

The kind of life
I'm talking about,

it just doesn't happen by magic.

Is that what this
has been all about?

You're worried that I'm
going to turn into Larry?

(chuckles)

I worry about that,
too, sometimes.

Yeah...

because I look around and I
don't see the best role models.

For example, Einstein.

Einstein never had a home life.

Einstein dumped his wife
and married his cousin.

I hope that's not your way
of making me feel better.

Dad, I'm wrestling
with all this, all of it.

My math, my work with Don,

Amita.

I'm sorry, I just don't have it
all figured out yet.

You have no right.

MEGAN:
Actually, we have a warrant.

This is ludicrous.

You're telling me
that my painting is a forgery

based on an analysis
of a photograph?

A photograph that you
submitted to the museum,

and I spoke to your
insurance company --

they're going to
withhold your payment.

Yeah, well,
I'll take them to court.

I wouldn't count on the courts

backing your play a second time,
Mr. Shoemaker.

The Hellmans are behind this,
aren't they?

They paid some sleazy math
expert to look at a photograph

and say that my Pissarro
is a fake.

Well, if they think they're going to
get something out of this, they're wrong.

That's a really
interesting theory,

but the math expert
works for us.

Why?

Why would
I steal my own painting?

And if it was a fake,
why would the Hellmans

have fought for four years
to get it back?

- Nothing so far.
- Of course, there's nothing!

I didn't steal the painting,

and I never shot a gun off
in my life.

My father was an honorable man
who served his country.

He was not a criminal
and neither am I.

So, where would someone like
Shoemaker hide that original?

If he is our guy, he's done
a real good job of eliminating

the one witness who could pin
the forgery on him.

By killing Wheeler.

Wait a minute, if he
commissioned a fake,

there's got to be a forger.

Maybe our second witness.

Find him, we find the killer.

TOLLNER: It won't be easy
catching this guy.

I've met any number of forgers
capable of work this good.

Maybe he's been caught before.

Maybe he even has a file.

That's a lot of names
to run down.

Well, what if we don't
run down the names?

What if we run down
the paintings?

We have a photograph of
the forged Pissarro, right?

Yeah, and the Bureau has
a photographic database

of other forgeries seized
over the years.

So, we give the
photograph to Charlie,

he can do an analysis
against all the other forgeries.

If he can tell us Pissarro
didn't paint the fake,

maybe he can tell us who did.

So per your request,

I compared my analysis
of the forged Pissarro

to the FBI database
of other recovered forgeries.

The algorithm identified
one painting in the database

that most closely resembles
the handiwork of our suspect

to an accuracy rate
of, like, 89.9%.

All right, so you found him?

Oh, I definitely found him.

So who's our forger?

His name is Gustav Stolberg.

Well, where is he?

He's in a Jewish cemetery

in Budapest.

He died in 1948.

So, our forger died
60 years ago?

Yeah, so the fake's at
least that old, then.

Interpol just faxed over
the file on Gustav Stolberg.

In 1946,
he was convicted of fraud.

He died in prison
two years later.

Hungarian police
seized what they believed

to be five forged
paintings in his shop.

Take a look at the list.

- Fourth title down.
- TOLLNER: The Pissarro.

Hungarian police assumed
all five canvases were a fake.

Right, but one wasn't.

So, we think that the real Pissarro's

been sitting in a Hungarian
police vault for 60 years?

Wouldn't surprise me.

The Communists never
threw anything away.

They packed the Pissarro into a
crate along with the other forgeries.

So Mrs. Hellman's father must
have paid Stolberg to paint the forgery

and then gave him the original
for safekeeping.

At least there's some justice;
the Nazis looted a fake.

It also means that Shoemaker's
probably telling the truth.

That he didn't know the
Pissarro was a forgery.

And maybe no one did.

Look, the fact that that
painting was stolen a month

before it was supposed to go
on tour can't be a coincidence.

Wait a minute.

Holden, the museum conservator.

Yeah.

If what you're saying is true,

that the real Pissarro
has been found,

then I must have made a mistake.

A mistake?

But you've been doing
this for 20 years.

The fact is, you lied to us,
didn't you?

You knew that Pissarro
was a fake the whole time.

Now we're not just
talking about a painting.

A man is dead.

And you're looking at
conspiracy to commit murder.

Whatever you were paid,
Mr. Holden, it's not enough.

Paid?

You think my integrity
would be for sale?

He said it would ruin us.

We'd already announced
the acquisition.

It's one thing
to display a painting

that's suspected
of being Nazi looted art...

...but to exhibit
a forgery?

Who said it would ruin you?

(laughter and chatter)

(classical music playing)

Excuse me. Excuse me.

Holden gave you up, Ruiz.

I spent my life devoted to
the reputation of this museum.

Killing a man's not going to do
much for the reputation.

Wheeler was a charlatan.

He found out the painting
was a forgery,

he tried to blackmail you.

Do you know how difficult it is
for a museum like ours

to actually acquire a Pissarro?

Yeah, but you didn't actually
acquire a Pissarro, did you?

By the time Patrick alerted me
to the forgery,

it was already too late...

The Pissarro had put
us on the map.

Only the tour next month
would have exposed you.

I thought if the painting
had just...

disappeared,

what would be the harm?

Shoemaker had his insurance,

and the museum would have
had its future.

Yeah, it's not much
of a future now, is it?

Is this really necessary?

Yes, this is really necessary.
Come with me.

The Hungarian police
just delivered it to us.

Oh, my...

- It's yours, Nana.
- Oh, my...

Always has been.

Oh, my God...

You know...

I think your father clearly saw the
writing on the wall with the Nazis.

So he went to Stolberg
and commissioned a forgery.

After all these years...

to think, even I was
beginning to question

whether what I
remembered was true.

Well, I hope this will give you
a little bit of comfort.

♪ It goes like this,
the fourth, the fifth ♪

♪ The minor fall,
the major lift ♪

♪ The baffled king composing
Hallelujah... ♪

(crickets chirping)

LARRY: You know, I can't
imagine -- six years old --

the world around you safe.

Then one day,
everything disappears --

parents, family,

everything you know...

One painting can only
give you back so much.

LARRY:
Well, maybe for Mrs. Hellman,

given the wisdom of her years,
that'll be enough.

- (door opening)
- Hello.

Oh, hey.

What, you guys started
without me, huh?

ALAN: I'd think Einstein
would say we started with you.

Just a different time
and space, am I right?

I like that.

I've been taking a closer look
at Einstein lately.

What's to eat?

Red meat on the barbecue.

Provided we still
have a barbecue.

Did you get my note?
We're out of propane.

I thought you'd take care of it.

I'm kidding.

We got a new tank.

We're good to go.

All right...

No, no, no, stay, stay.

I got it.

You're gonna grill?

Yeah, you know, T-bone steak
with Mom's amazing steak sauce.

A little corn on the cob.

Hey, you want some help?

No, no.
Think I can handle it.

Charles, that is white corn.

Hey, you know how you
told me about your mom's

cousin not finding anyone.

Yeah.

You think you could give me
a list of names?

You're gonna find them?

Yeah, I mean I'd like to try.

What do you think?

Good.

♪ And broken Hallelujah ♪

♪ Hallelujah ♪

♪ Hallelujah... ♪

♪ Hallelujah ♪

♪ Hallelujah... ♪

♪ Hallelu... ♪