All language subtitles for Murdoch Mysteries s17e03 Murdoch and the Mona Lisa.eng

(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)

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