Original subtitles

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[Chiiild's "Hold On Till We Get There"]

- * Sometimes I feel like a mess *

* But I'm a work in progress *

* This heaviness on my chest *

* Keep breathing, keep breathing *

* *

- I know, I know. Sorry I'm late.

- You right on time. [both chuckle]

- Hi, Rose.

I figured you get a lot of roses.

- Tulips.

Thank you, Alec.

- Thank you for doing this with me.

- Anything for science.

Though, a 24-hour date experiment

might be the most convoluted excuse

a man has used to get me into bed.

- Ah, that's not the objective.

Anyone can make a good impression over an hour or two

after a couple cocktails.

And technically, this isn't an experiment,

since there's no control.

- Noted.

You need a whole 24 hours to impress me.

- Spending that time together while we do our jobs,

taking a break for sleeping separately,

will give us a chance to really get to know each other.

- And this is something you do on all your dates?

- Well, this is actually the first date

I've been on since my divorce.

- So this high-intensity dating concept is just a theory?

- Well, gravity was just a theory at one point.

- [laughs]

[upbeat music]

* *

- This is nice, isn't it?

Having a meal together.

- Yeah, I always--

I always looked forward to our dinners.

- [chuckles]

How long has it been? A year now?

- Ever since you filed for divorce from my brother.

[soft music]

I didn't mean for that to come out so harsh.

- It's OK. It's all right.

But maybe we should avoid talking about him--Alec.

- You got it.

- How's your lasagna?

- Oh, it's OK.

Not as good as it used to be, though.

Remember when we shared it at my birthday dinner,

and you dared me to give that waitress my number?

- And then I came to find you making out

with her in the bathroom?

[laughter]

* *

Just the two of us.

Isn't this nice? - Mm-hmm.

So nice.

* *

- It might take longer than 24 hours

to get to know the real me.

I've been a few different people.

- I read about that in "The Guardian."

You were MI6.

- Technically, we don't call it that anymore.

- Still, it must have been difficult to have

your cover blown by a vindictive MP

during open session.

- Imagine spending your whole life married to your career.

And then it falls apart in an instant.

- I guess we've both recently ended marriages then.

- It's been two years.

And I'm still putting the pieces together,

figuring out what I want, who I am.

- It seems we have a lot in common.

Here's to figuring out who we are.

[phone dings]

- It's a client.

She needs to meet with me ASAP.

You in?

- Let our date begin.

- [chuckles]

[tense music]

* *

[doorbell rings]

- Don't ever fall in love.

- [chuckles] - Love makes you stupid.

Makes you ignore your friends when they

tell you not to marry him.

Makes you think he isn't cheating.

Makes you give up half, half of your estate

to a debt-ridden crypto bro from New Jersey.

- I've experienced the pain of divorce too.

But I've found that it can also

be an opportunity to reevaluate--

- I'm sorry. Who are you?

- Blair, this is Dr. Alec Mercer.

He's an expert in human behavior.

He might be of use and promises the utmost confidentiality.

- How may we help you?

- Here's my problem.

- Cézanne? - "The Orchard."

He painted it after his wedding.

It was a wedding present to me from my ex

even though, technically, I paid for it.

Carson and I fought like hell over it in the split.

- And you won. - Oh, did I ever.

But since it accounts for such a large part

of the settlement, it had to be reappraised.

Imagine my shock when the appraiser

questioned its authenticity.

- They think "The Orchard" is a forgery.

- Apparently, all plein air paintings

completed in late 1883 must contain

some residual volcanic ash.

- Makes sense.

Krakatoa erupted August 1883.

A cloud of volcanic ash went from Indonesia

all the way to Europe.

And the appraisers didn't find volcanic ash in "The Orchard"?

- Even though the results aren't conclusive--

- You're concerned your painting is a copy.

- A fake.

Just like my marriage.

- Are you familiar with retrospective framing,

our tendency to change how we evaluate our past

when we learn something new about it?

Your fondness for your painting and your former marriage

are now being invalidated by new evidence.

That's not necessarily a bad thing in divorce.

It helps people move on.

- While I appreciate your insight,

Dr. Mercer, what I want is "The Orchard,"

the real "Orchard."

- Then you will get it.

[soft music]

* *

I don't get it.

I mean, I get it.

But $8.5 million for some shapes on a canvas.

- I'm not a big fan of the cubists either.

A little too heavy-handed if you ask me.

Henry Gibbs, gallery owner.

- We've heard you're the guy to see

for impressionist paintings.

- Ah. - And forgeries.

- Now, before you go blabbing the F word again,

forgery, here is a certificate

of authenticity for "The Orchard."

As you can see, several Cézanne experts have confirmed

its legitimacy and provenance.

- You're confident you sold Blair the authentic "Orchard."

- I am. - Then buy it back.

- Refund Blair.

In the past five years, "The Orchard"

has appreciated by how much?

40%?

You'd come out ahead.

Way ahead.

- I know I sold Ms. Dalton a real Cézanne.

But I can't account for it since it left my gallery.

I understand her divorce has gotten quite contentious.

Perhaps she's commissioned a fake

and is trying to turn a quick buck.

- Not the quickest buck for her to turn.

You, on the other hand.

- Ms. Dinshaw, Dr. Mercer, I'm afraid I have an appointment.

I wish I could say it's been a pleasure, but...

* *

- Is this something you do often in your line of work,

stakeouts?

- Don't get too excited.

All we're doing is waiting to tail Henry to his appointment.

- Hmm.

- [chuckles]

- An appointment he made on the spot.

You see the way he tensed?

- Clenched his fist.

Checked his watch. Dead giveaways.

- You studied body language analysis.

- One of the many reasons I excelled in my profession.

Best case scenario, he meets with an accomplice

and we can confront them on selling a counterfeit.

- Worst case scenario?

- Everyone has their secrets.

We watch Henry until we learn his

and use them to put pressure on him

to cough up the real painting.

- [sighs] The real painting.

- What?

- "The Orchard" looks exactly the same

whether Cézanne painted it or not.

But one's a masterpiece, the other isn't.

- Completely irrational. - Exactly.

Blair loved that painting until she suspected

that it was a copy.

But nothing's changed. It's still the same painting.

Oh.

- Henry just walked up to the window.

I didn't want to blow our cover.

- Here I was thinking you were cutting off my monologue.

- Not at all.

Oh, here we go.

Henry's appointment.

Can you make out anything?

- No, but whatever they're talking about looks tense.

[dramatic music]

* *

.

- There was just the body. No one else was here.

- And what were the two of you doing here?

- Working an investigation. - We were on a date.

- We were working an investigation on a date.

I'm in crisis management.

My client hired me to look into a painting

the deceased sold to her.

It's a suspected forgery.

- And you're her date?

- Dr. Alec Mercer.

He's a renowned professor of behavioral science.

- What's your client's name? I got to get an alibi.

- Blair Dalton.

- This forgery investigation of yours,

there might be some overlap.

Keep me looped in, OK?

- Yes, Officer Matsuda.

[exhales sharply]

Your assignment just got a lot more complicated.

Whoever killed Henry probably has something

to do with Blair's forgery.

- Agreed, but we're still not 100% certain

if the painting is a forgery.

Note this number down for me.

202-167-7758.

- Photographic memory?

- Something like that.

It's a phone number of the first expert

listed on the certificate of authenticity Henry showed us.

Maybe they can take another look at "The Orchard."

- Ah, let's give them a call.

In a couple of hours.

[soft music]

- See you for breakfast.

- I'll see you for breakfast.

- Yeah.

* *

- Hey. - Mm.

- You might need this more than me.

I know that all-nighter life.

What were you studying? - I wasn't.

I went to the department mixer.

Man, comparative psych goes hard,

Like karaoke At 3:00 a.m. hard.

- Sounds more fun than working on my thesis.

- Honestly, I only went hoping to find a new roomie,

since my rent went up.

But it's actually hard to meet potential roommates

while someone's singing Bon Jovi

at the top of their lungs.

Still, you should've come. [phones ding]

Oh.

Huh.

The professor wants us to experiment

on the meaningful endowment effect.

- "Test to see how attaching a story to an object

affects its value on the marketplace."

- So we auction something online.

How about my old guitar?

It could give us good data.

- Good data or help you make rent?

- Can't it be both?

- Only if you've got a great story attached to this guitar.

- It was a present from my dad.

- Hmm.

How about you post the control condition,

and I'll take care of the story.

- Thanks for putting a rush on the lab work.

- Oh, considering the gravity of the situation,

it's the least I could do.

- Well, what's the verdict?

- I took a pigment sample from Blair's "Orchard," analyzed it.

- And?

- [sighs] No ash.

- So my painting is a fake.

- I talked to the previous owners.

They stored a pigment sample from "The Orchard"

before selling it to Henry.

And that sample just tested positive for ash.

- What does that mean?

- It means Henry bought the real "Orchard."

But he didn't sell it to you.

- Why didn't we run that test before I bought it?

- Well, the Krakatoa study was only published two years ago.

- I--well, I certified another couple of Cézannes for Henry.

Until they're proven authentic,

we have to assume that all

of Henry's Cézannes are forgeries.

- Henry exploited the irrationality of the art world,

where the default is always to believe the work is real.

It's in the financial interests of the buyers, the owners,

the auction houses, the whole system

to validate the art they buy and sell.

Until there's a glaring reason not to.

- Clearly, given Henry was murdered last night,

you may not have been the only unhappy customer.

- Do you know who else Henry sold a Cézanne to?

- You didn't hear this from me.

But rumor was, Henry sold a Cézanne to a big client.

- Who?

- It was an anonymous buyer.

He went by a pseudonym, Mr. Z.

And since he bought through proxies,

no one really knows anything about him,

except that he is a dangerous guy,

moves in elite international circles.

- My favorite kind.

Do you have any way of getting into contact with this Mr. Z?

- No.

And if I were you, I wouldn't.

[tense music]

- Hm.

* *

- You could have planned a dinner or a movie.

But instead, you're solving a murder on a first date.

- Isn't it romantic?

- And hanging with the fam.

You know he lives here, right, with his little sister?

You cool with that? - Temporary.

Just temporary. - [laughs]

I've lived out of a suitcase for months on end.

But I do have a great broker I can put you in touch with.

- Thank you. I'd like that.

- If you can get him to move into his own place,

oh, then I'm definitely rooting for you two.

- Were you able to hack into Henry's records?

- Just sent it to you both.

[phones ding]

* *

- Multiple purchases across different styles,

like Z has no taste or POV.

He's buying the most expensive works

and turning them quickly.

- He even bought a few pieces twice.

- What does that mean?

- Mr. Z is laundering money through art.

- OK.

It sounds like more than I need to know, so...

[clears throat] I will leave you two to this.

- [clears throat]

* *

So Mr. Z has the means to hire a hitman.

And he has the motive to settle the score after being

scammed out of millions.

Whoever he is, he looks like a prime suspect.

If Henry's murder is related to the forgeries,

finding the killer could lead us to the real painting.

- Good point.

I'll put out feelers.

I still have some contacts in the field.

And they might know how to track down Mr. Z.

* *

- Hey.

- Well, that's the biggest murder board I've ever seen.

- Murder/forgery board.

I thought it might help us keep track of it all.

I got us some dinner.

- And I have dessert.

While we wait for my contact to ring back,

I pulled these, profiles of Interpol's

most wanted money launderers.

- Sounds tasty.

Perhaps a more neutral backdrop while we eat.

- Very suave, Mercer. - Mm.

- There was this cart outside my flat in Shanghai.

Best dumplings ever.

- You miss it, being out in the field?

- No.

Yes. - [chuckles]

- I do miss it.

It was fun, easy, pretending to be other people.

It kept me safe.

And in a way, it was easier for me to be someone else.

But sometimes, I worry I might have lost the real Rose.

- When people ask, I make up stories about my scars,

just so I don't have to talk about what really happened.

- It's hard to open up about experiences

most people can't relate to.

And when you do, you're left just feeling even more lonely.

- Damn, I don't usually get this deep over dumplings.

- [chuckles]

* *

- You just missed office hours.

- Dr. Mercer.

Ms. Dinshaw.

I understand you are looking for Mr. Z.

* *

.

[soft music]

- Mm.

Honestly, it's hard to be terrified

when the cheese is this good.

* *

Are you going to take us to Mr. Z?

* *

- I am Mr. Z.

My concern is keeping business private.

But you two have got people talking.

Why were you looking into me?

- We suspect Henry Gibbs sold you a forged Cézanne.

- That doesn't bother you?

- It doesn't.

He helped me make a lot of money.

In fact, I was seriously considering

buying Henry's last Cézanne.

Or a copy, I suppose.

- Henry had another Cézanne?

- "Harlequin."

Its unusual dimensions made it stand out to me.

22 inches by 48.

- No other Cézannes were found in his gallery or home.

- There wouldn't be.

Henry kept a secret stash.

I don't know where.

- You think that's where "Harlequin" is?

Possibly along with other works?

- Possibly.

But again, not my concern.

Nor am I yours.

Well, have the soppressata.

It's delicious.

* *

[knocking]

- Hey. - Hey.

- Alec's not here. He and Rose got a lead.

Hold up.

Are you looking for that Z dude too?

- No.

Actually, I'm here for you.

Jace got us tickets to the Kennedy Center tonight.

But he's got pulled away on a case.

I know it's last minute.

But you want to come with?

- Uh...

- You're busy. I will leave.

- No, no.

Sounds fun.

Let me change.

- Rose, huh?

Rose Dinshaw, the corporate fixer?

- Uh-huh, yeah, that Rose.

The two of them were on a date,

which turned into a murder investigation.

You know Alec.

- Strike one, girl. You said the A word.

- Come on, Marisa.

- Come on what?

- You're not being real.

Obviously, you're feeling some type of way

about Alec dating again.

And yes, it's awkward, but--

- I thought we agreed not to--

- What else can we talk about?

You're too busy stuffing down your feelings

to discuss anything else.

* *

[phone dings]

- Oh, that's work.

I'm going to get back to the office.

* *

- [sighs] Damn.

I was hoping Mr. Z was our guy.

- I guess Mr. Z was neither a guy nor our guy.

She and her henchmen didn't fit the bill of a killer.

And I suspect, when it comes to murder,

Mr. Z is a little bit more creative than pushing

someone off a balcony, or at least more discreet.

[phone dings] Hmm.

Well, that's 24 hours.

- You put our date on a timer?

- So... - So...

This was a lot of fun. - This was a lot of fun.

* *

- If Henry has a secret stash, like Mr. Z said,

then maybe that's where we'll find the real "Orchard."

- That's what I was thinking.

- I'm going to search Henry's.

Matsuda might have missed something.

- Can I join you? - Call it a second date?

[laughter]

* *

.

[tense music]

* *

- Evan mentioned authenticating other Cézannes for Henry.

Maybe "Harlequin" is one of them.

If we can't find Henry's stash, Evan might have some ideas.

- Hold that thought.

Based on the square footage of the first floor,

I'm thinking Henry walled off a portion of his office

to create a secret room.

My money's on this bookshelf being the door.

* *

- Impressive work, Dinshaw.

- [sighs] Damn it.

The real "Orchard" isn't here.

- Neither is "Harlequin."

Z's photo was time stamped the day before Henry died.

Now the painting's gone.

- Is that why Henry was murdered?

Over a painting that's probably fake.

* *

- What do you think these dimensions are?

both: 22 inches by 48.

- "Harlequin."

Or at least, it was, before it was shredded

and dropped in solvent.

- The last fake Cézanne

in Henry's collection was destroyed.

[phone dings]

* *

- We have to go.

There's an intruder at Blair's house.

* *

[radio chatter]

You OK, Blair?

Carson. - Rose.

- Blair's ex-husband.

What are you doing here?

- I'm on the policy.

The alarm company called me.

Got here as fast as I could.

- Did either of you get a good look at the intruder?

- I just heard the alarm.

I was too scared to come downstairs.

- Yeah, they were already gone by the time I got here.

- I'll check with the police, see what they know.

[radio chatter]

- Could I have a word in private?

- Oh. - [sighs]

This might be unwarranted.

Or maybe not.

Considering how you characterized your ex

when we first met, Carson may be

attractive to you right now,

but I would consider postponing any potential reconciliation

until the knight in shining armor effect wears off.

He didn't actually save you.

Your nervous system just thinks he did.

- I guess I'll take that under advisement.

- Police said it looks like a robbery.

But nothing's missing.

Why break into a multi-million dollar home and take nothing?

- Because the robber didn't find what they were after.

* *

[safe beeps]

- All right.

- You were right.

- Why keep a fake in the vault, babe?

- How'd you know it's a fake?

- Ah, DC art world is microscopic.

It's the talk of the town.

Everyone knows.

* *

- If everyone knows, then there's

a good chance whoever tried to steal Blair's

"Orchard" knows it's a forgery.

- So someone's after Henry's fakes Cézannes.

Why?

- Could be a cover-up.

- The forger covering their tracks.

- But how do we find the forger?

- I might have a lead.

* *

- Online auctions are the Coachella

of irrational behavior.

All my favorite theories come out to play.

Check it out.

Bids on our meaningful endowment condition

are up to $300.

- That's amazing.

"Once played by Carlos Santana."

I told you my dad said there was a guy in the guitar store

who looked like Santana.

- Santana was on tour that year.

It could check out. - [laughs]

- Besides, the meaningful endowment effect

works whether or not the story is true.

How's the control condition doing?

- Um...

- Wait, our hypothesis is that the guitar with the story

attracts a higher price, right?

- Yes. Why?

- All I did was list the brand and year with the photo,

like you said.

No story, but--

- $500.

Rizwan, why is someone offering $500

for the control condition?

- Your Interpol short list of art forgers isn't very short.

We've been all over town.

- Well, then this has got to be the one.

It's the only one left.

Goes by "Bridget."

No one's home.

There could be evidence in there.

Cover me, will you?

* *

Don't tell me you've never picked a lock before, Mercer.

* *

- The forger's studio.

- What the hell are you doing here?

* *

- We're looking for Bridget.

We have to ask her some questions.

- You can't.

- Why not?

- Because she's dead.

.

[tense music]

- I'm Alec Mercer.

I teach behavioral science at Wylton.

And you are?

* *

- I'm Bridget's father.

- Can I ask what happened to Bridget?

- Died two weeks ago.

Cancer.

- I saw one of Bridget's Cézannes.

She's very talented.

It's a shame no one will know that those were her works.

- I warned her.

It was only a matter of time until someone figured it out.

The sad part is, Bridget didn't

get into forgery until my heart attack

forced me to stop working.

A father is supposed to take care of his daughter,

not the other way around.

So if you're here to press charges

against my dead daughter--

- This isn't just about a forgery anymore.

This is about the murder of Henry Gibbs.

- I don't know anything about that.

* *

- We already know your daughter was

involved in illegal activity.

Maybe you killed your accomplice

and destroyed her art to protect her good name.

* *

- Bridget was proud of her paintings,

and so was I.

I'd never destroyed them.

- I'd like to help Bridget get the recognition

she deserves for her skills, even if they were imitations.

But that can't happen until we know more about the forgeries,

like who else was involved.

- She didn't want me knowing what was going on.

But I did overhear an argument between Bridget

and the other guy, not Henry, but the one

who lined up the buyers.

Bridget called him a reckless prick

for selling a forgery to his own wife.

- Did you catch his name?

- Carmichael?

- Carson? - Carson.

That's it.

- You think I murdered Henry?

- A credible witness identified you

as a member of Henry's forgery ring.

And you've refused to tell me where you were

the night he was murdered.

- All I did was make a couple bad investments, OK?

I zigged when I should've zagged.

I needed some money to back a new venture.

But Blair refused.

So to make some extra cash on the side,

I helped Henry, found a few people to buy some fakes.

- Like your wife? - Ex-wife.

I didn't kill anyone.

- Where were you the night Henry was killed?

- Blair and I are this close to getting back together.

If she finds out where I was--

- You've got bigger problems to worry about.

- [sighs]

Osteria Rafael.

* *

With my girlfriend.

* *

- I think he's telling the truth.

- That's too bad.

- I'm beginning to think we need

to revisit possible motives.

[phone dings]

Hmm, It seems my researchers' experiment

is showing a different pattern of results than expected.

How about we go back to my place?

- Thought you'd never ask.

* *

- What are you-- - Don't worry.

We will sell it to you, but first,

we need to know why you offered such a high price

for an essentially worthless guitar.

- I mean-- [sighs]

- What's going on?

- Professor, hi.

We thought you were coming by later,

after we organized our results.

- We tried to sell an object with a story attached,

like you asked, Professor.

But the control got a much higher bid

than the meaningful endowment condition.

He's the outlier. - What?

- Did you know you were offering more

than the guitar was worth?

- Yeah, of course.

- Why?

- My dad taught me how to play on the same model guitar.

And when I was in my early 20s, I was strapped for cash,

and I had to sell it.

Now I've got a foster daughter. She wants to play.

And I want her to learn on the same model that I did.

I mean, I know it's not the exact same guitar.

But I don't know.

It's, um...

sentimental value.

[soft music]

- Thank you.

* *

Sentimental value.

Someone connected to Bridget wanted her paintings

bad enough to kill for them.

- OK, but if Bridget's paintings mean so much,

then why'd the killer destroy one using a barrel of solvent?

- The killer didn't destroy Bridget's paintings.

Henry did to cover the forgery.

After we visited him, he knew we were on to him,

so he destroyed "Harlequin."

- The last Cézanne by Bridget.

- And after the killer discovered

that Henry ruined her work,

they murdered him in a fit of rage.

- Then tried but failed to steal Blair's "Orchard."

- Sentimental value is driving the killer

to extreme measures, violent ones.

And they won't stop until they get one of her Cézannes

in their hands.

- How do we stop them?

- If they're willing to murder and rob for her works,

then presumably, they will come to an auction

to bid on it.

Under the pretense of a larger divorce sale,

we offer Blair's "Orchard" up for auction.

We even list it as a forgery.

And we use Bridget's name as the real artist.

Spies have the best toys.

Testing. Testing.

Do you read? - Loud and clear, Professor.

- [whispering] I feel like James Bond.

- Play it cool.

- Next up, ladies and gentlemen,

we have "The Orchard," a convincing Cézanne forgery

from the late Bridget Archibald.

Let's start the bidding at $50,000.

Do I have $50,000? Looking for 55.

- You think he's here to support his daughter or--

- He's not bidding. I don't think he's our guy.

- She seems rather interested.

- She does.

Let's see if she goes all the way

or be flushed out by Phoebe's bids.

- 76. Looking for $76,000.

76. $76,000.

- $76,000 and counting. - $77,000, looking for 77.

- Maybe I should have gone into forgery.

- $78,000, looking for 79. $79,000.

Looking for $80,000. $80,000.

Looking for $100,000. $100,000, ladies and gentlemen.

Can I get a 110? 110, 110.

I've got a $110,000 bid. Looking for 120, $120,000.

Looking for 130.

Anybody 130? I've got $130,000.

- That's our culprit.

Phoebe, Phoebe, stop bidding.

- Looking for $150,000. Looking for 150.

$150,000.

Do I hear 175? $175,000.

Anybody for 175?

No, I've got 150 going once,

going twice, going three times.

Sold to the gentleman in the back for $150,000.

[applause]

[dramatic music]

- That's Evan.

* *

.

- Alec, Rose, I wasn't expecting you.

- On behalf of my client, Ms. Dalton,

I'm here to inform you that this sale has been nullified.

- What? No.

I bought the painting. I'm taking it.

- You won't be charged for the purchase.

But you can't keep the painting.

It's already connected to an attempted robbery.

It's FBI property now.

- What are they going to do with it?

- They've authorized me to destroy it.

- Bull. [scoffs]

That makes no sense.

- Bull or no bull, I'm the one holding the box cutter.

- Wait, you can't.

No, please no. Don't.

No, no, no. Please don't do that.

- You clearly care a lot about this painting.

If you were part of the forgery ring,

you'd want to destroy it too.

- What forgery ring?

- Evan, we know

about Carson, Henry, and Bridget.

- Well, I didn't want anything

to do with their scheme, OK?

I refused to authenticate the painting.

- But your name is on that certificate.

So you did. Why?

- Because...

well, you know, Bridget asked me to.

[tense music]

- So?

- So...

* *

[sighs] I couldn't say no to her, OK?

- You were in love with her.

* *

- When Bridget died, I arranged to buy

her last Cézanne from Henry.

I even gave him a down payment.

I was getting the rest of the money when,

all of a sudden, Henry tells me

that the sale's cancelled.

He has to destroy the painting.

* *

Bridget's work is all that's left of her.

And when I saw what he did to it, I just...

* *

[muffled shouting]

- You killed him?

- Yes.

- You want to call Matsuda, or should I?

* *

- What did I say?

Don't ever fall in love.

Or at the very least, don't fall in love with Carson.

- Noted.

After Henry Carson and Bridget successfully

pulled off their scheme with you,

they passed off even more Cézannes.

- So the real "Orchard"?

- It was destroyed years ago.

But with the forgery scheme exposed,

I can extract a refund from Henry's estate.

You can put that cash to a real Cézanne.

- You don't want a Cézanne anymore?

- I don't. [laughs]

Learning the truth about my ex has helped me move on,

helped me let go.

In fact, you two should have this.

This story belongs to you now.

[Joy Oladokun's "breathe again"]

- * The devil's in the basement in my home *

* *

- You were right.

I wasn't being real with you, which is stupid because we

always got along because we weren't afraid

to be honest with each other.

- I know.

I told you I was queer before anyone else in the family.

* *

- We need to be ourselves again.

- I'm mad, Marisa.

Without warning, just poof, you just left us.

- I left my marriage.

I didn't leave you.

I love Alec.

I will always love Alec.

But that's not the same as being married to him.

I need to find out who I am without him.

* *

- Yeah, OK.

I get that.

- We were family.

You were the closest thing I had to a sister.

And then, you just stopped talking to me.

I missed this.

I missed you.

- Oh, I've missed you so much.

- * Until I'm honest *

* Will I ever breathe again? *

* Again *

- I'd say our date yielded a lot of data,

how well we work as the team,

how much you like playing bad cop.

- What a fan of brie you are.

[laughter]

- And I can say without ambiguity,

that you're not a collection of fake personas.

There's someone real in there.

And I would very much like to see her again.

* *

[phone dings]

- [sighs]

Another client emergency.

I'm off to Paris.

* *

- Mm. - [chuckles]

You keep the painting.

For now.

But when I get back, we should do this again.

- * Hold my breath in until I'm honest *

* Will I ever breathe again? *

* Will I ever breathe again? *

- Bye. - Bye.

- * Will I ever breathe again? *

* *

[dramatic music]

* *