Mona Lisa is Missing

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How did an unassuming housepainter from Italy pull off the greatest little known art heist in modern time? Was his motivation more than money?

Writer-director Joe Medeiros traces the path of Vincenzo Peruggia, charged with the 1911 theft of Leonardo da Vinci's Mona Lisa from The Louvre, and finds the story of a daughter mourning the father she never knew and a country recovering from old wounds.

Combining historical photographs, animation and interviews with Peruggia's descendants, Medeiros answers why and how the man called "Macaroni" by his French co-workers absconded with and kept the legendary painting for two years.

This riveting, often humorous documentary portrays a man struggling to find his way in the world and make his family proud.

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Main credits

Medeiros, Joe (film director)
Medeiros, Joe (film producer)
Medeiros, Joe (screenwriter)
Medeiros, Justine (film producer)

Other credits

Editors, Leonard Feinstein, Joe Medeiros; camera, Joe Medeiros, Fabio Pasini; original music composer, Brian Langsbard.

MARC Record See Worldcat record

Keywords

First Hand Films,Documentary,Film,USA,Mona Lisa is Missing,The Man Who Stole The Masterpiece,Joe Medeiros,Justine Medeiros,2013,Midair Rose,Louvre,Art,Painting of all Times,Leonardo da Vinci,Mona Lisa,Macaroni,Crime,Comedy,Peruggia,art thief,art heist,; "Mona Lisa is Missing"; First Hand Films

00:00:46.780 --> 00:00:50.617
-THE "MONA LISA" IS SIMPLY THE
MOST IMPORTANT SINGLE PAINTING

00:00:50.617 --> 00:00:52.519
IN THE WORLD.

00:00:53.453 --> 00:00:57.657
-WE HAVE MORE THAN 8 MILLION
VISITORS A YEAR IN THE LOUVRE,

00:00:57.657 --> 00:01:00.994
AND MORE THAN HALF OF THEM

00:01:00.994 --> 00:01:03.396
ARE THERE
ONLY TO SEE THE "MONA LISA."

00:01:21.414 --> 00:01:25.218
-THERE ARE A LOT OF SUSPICIONS
ABOUT THE AUTHENTICITY

00:01:25.218 --> 00:01:27.921
OF THE OTHER PAINTINGS
BY LEONARDO HERE IN THE LOUVRE.

00:01:27.921 --> 00:01:30.356
THE "MONA LISA" WAS ALWAYS
CONSIDERED AN ORIGINAL

00:01:30.356 --> 00:01:31.791
BY THE ARTIST.

00:01:31.791 --> 00:01:35.695
-LEONARDO DA VINCI CONSIDERED IT
ONE OF HIS FAVORITE PAINTINGS,

00:01:35.695 --> 00:01:38.865
BECAUSE HE CARRIED IT AROUND
WITH HIM FOR SO LONG.

00:01:38.865 --> 00:01:40.333
SHE HAS BEEN COVETED AND LOVED.

00:01:40.333 --> 00:01:42.569
SHE HAS BEEN WRITTEN ABOUT.
SHE'S BEEN ADORED.

00:01:42.569 --> 00:01:45.405
[ FOOTSTEPS APPROACHING ]

00:01:45.405 --> 00:01:47.340
[ CREAK! ]

00:01:47.340 --> 00:01:49.275
[ FOOTSTEPS DEPART QUICKLY ]

00:01:49.275 --> 00:01:51.144
[ DOOR SLAMS ]

00:01:51.144 --> 00:01:53.446
-SHE HAD BEEN TAKEN.
SHE'D BEEN KIDNAPPED.

00:01:54.714 --> 00:01:59.686
-THIS WAS THE GREATEST ART HEIST
IN MODERN TIMES.

00:01:59.686 --> 00:02:02.055
[ PEOPLE SCREAMING ]

00:02:02.055 --> 00:02:05.024
-THIS PAINTING
HAD AN ICONIC VALUE,

00:02:05.024 --> 00:02:07.060
BUT IT WAS THE VERY FACT
OF THE THEFT

00:02:07.060 --> 00:02:08.361
THAT TRANSFORMED IT

00:02:08.361 --> 00:02:11.431
INTO THE EQUIVALENT
OF A KIND OF GLOBAL CELEBRITY.

00:02:11.431 --> 00:02:14.334 align:start size:78% position:22%
-PARIS NEWSPAPERS
REPORTED THE THEFT

00:02:14.334 --> 00:02:16.936
UNDER THE HEADLINE
OF "UNIMAGINABLE."

00:02:16.936 --> 00:02:20.707
THIS WAS HUGE, HUGE NEWS
ALL OVER THE WORLD.

00:02:20.707 --> 00:02:25.545
-THE POLICE WERE VIRTUALLY
CLUELESS HOW THIS HAD OCCURRED.

00:02:26.813 --> 00:02:29.149
-WHAT AUDACIOUS CRIMINAL,
WHAT MANIAC COLLECTOR,

00:02:29.149 --> 00:02:32.318
WHAT INSANE LOVER
HAS COMMITTED THIS ABDUCTION?

00:02:33.820 --> 00:02:35.922
-IT'S SOMEBODY WHOSE GOT
SOME SCREWS LOOSE IN THEIR HEAD.

00:02:35.922 --> 00:02:41.094
-THIS MASTERPIECE HAD BEEN TAKEN
BY AN OBSCURE INDIVIDUAL.

00:02:46.432 --> 00:02:50.537
-AND IT'S AMAZING TO THINK
THAT, FOR TWO FULL YEARS MORE,

00:02:50.537 --> 00:02:51.604
IT WAS GONE.

00:02:51.604 --> 00:02:54.240
FOR TWO YEARS,
IT WAS REALLY GONE.

00:03:16.529 --> 00:03:17.864
-MY NAME IS JOE,

00:03:17.864 --> 00:03:20.934
AND I'M OBSESSED WITH THE THEFT
OF THE "MONA LISA."

00:03:22.302 --> 00:03:23.870
I WAS 25 YEARS OLD

00:03:23.870 --> 00:03:26.339
WHEN I FOUND OUT
THE PAINTING HAD BEEN STOLEN,

00:03:26.339 --> 00:03:29.175
AND I SPENT MORE THAN 30 YEARS
TRYING TO FIGURE OUT

00:03:29.175 --> 00:03:32.111
HOW THE MAN WHO DID IT DID IT.

00:03:32.111 --> 00:03:34.981
IT ALL STARTED
WHEN I OPENED THIS BOOK

00:03:34.981 --> 00:03:37.250
AND READ THIS SENTENCE.

00:03:44.724 --> 00:03:46.826
REALLY?

00:03:46.826 --> 00:03:50.263
AN ORDINARY WORKMAN
STOLE THE MOST FAMOUS PAINTING

00:03:50.263 --> 00:03:51.331
IN THE WORLD?

00:03:51.331 --> 00:03:53.766
LOOK AT THIS GUY.

00:03:53.766 --> 00:03:55.268
-HOW COULD
SUCH A NEBBISHY LITTLE GUY

00:03:55.268 --> 00:03:56.703
PULL OFF
SUCH A SPECTACULAR CRIME?

00:03:56.703 --> 00:03:59.305
-AS A SOMEWHAT NEBBISHY GUY
MYSELF,

00:03:59.305 --> 00:04:01.274
I WANTED TO KNOW THAT, TOO.

00:04:01.274 --> 00:04:03.109
SO I DID
WHAT A NEBBISHY GUY DOES.

00:04:03.109 --> 00:04:05.478
I WENT TO THE LIBRARY.

00:04:05.478 --> 00:04:07.747
THIS WAS 1976,

00:04:07.747 --> 00:04:10.917 align:start size:97% position:3%
WHEN YOU ACTUALLY HAD TO LEAVE
THE HOUSE TO GET INFORMATION.

00:04:13.820 --> 00:04:16.856
BUT THERE IT WAS -- THE THEFT,

00:04:16.856 --> 00:04:19.659
THE POLICE INVESTIGATION,

00:04:19.659 --> 00:04:22.362
AND THE RECOVERY
OF THE PAINTING.

00:04:22.362 --> 00:04:24.597
YOU SEE, I WAS JUST STARTING OUT
AS A WRITER,

00:04:24.597 --> 00:04:26.699
AND I THOUGHT
THE THEFT OF THE "MONA LISA"

00:04:26.699 --> 00:04:28.434
WOULD MAKE A GREAT MOVIE.

00:04:28.434 --> 00:04:30.837
AND I WAS GONNA WRITE
THE SCRIPT.

00:04:32.805 --> 00:04:34.807
BUT THE MORE I LEARNED
ABOUT THE STORY,

00:04:34.807 --> 00:04:38.311
THE MORE I REALIZED THERE WAS
A MISSING PIECE TO IT --

00:04:38.311 --> 00:04:42.048
WHY DID VINCENZO PERUGGIA
STEAL THE "MONA LISA"?

00:04:42.048 --> 00:04:43.583
-PATRIOTISM.
-MONEY.

00:04:43.583 --> 00:04:45.385
-CRIME OF PASSION.
-REVENGE.

00:04:45.385 --> 00:04:47.120
-I THINK THERE ARE
MANY POSSIBILITIES HERE.

00:04:47.120 --> 00:04:49.822
-SINCE NOBODY KNEW
PERUGGIA'S TRUE MOTIVE,

00:04:49.822 --> 00:04:53.026
I FIGURED I COULD JUST
MAKE IT UP FOR MY SCREENPLAY.

00:04:53.026 --> 00:04:56.062
IN ONE VERSION,
HE STOLE THE "MONA LISA"

00:04:56.062 --> 00:04:58.731
TO WIN THE LOVE
OF HIS GIRLFRIEND.

00:04:58.731 --> 00:05:03.436
IN ANOTHER, TWO COWORKERS
"PERSUADED" HIM TO STEAL IT.

00:05:03.436 --> 00:05:06.873
IN A THIRD, PERUGGIA WAS
CONVINCED TO TAKE THE PAINTING

00:05:06.873 --> 00:05:09.809
BY THE GHOST
OF LEONARDO DA VINCI.

00:05:11.811 --> 00:05:13.012
THE YEARS PASSED,

00:05:13.012 --> 00:05:15.148
AND EVEN THOUGH
I DID GET TO HOLLYWOOD

00:05:15.148 --> 00:05:18.051
WHEN I WAS 41
AS A TELEVISION WRITER,

00:05:18.051 --> 00:05:21.187
I NEVER MANAGED
TO FINISH THAT SCRIPT.

00:05:21.187 --> 00:05:22.522
THEN ONE DAY,

00:05:22.522 --> 00:05:24.991
AS I WAS SEARCHING FOR
ANYTHING NEW ABOUT THE STORY,

00:05:24.991 --> 00:05:28.027
UP POPPED THE NAME
CELESTINA PERUGGIA,

00:05:28.027 --> 00:05:30.463
VINCENZO'S ONLY CHILD.

00:05:30.463 --> 00:05:32.332
THAT'S WHEN IT HIT ME.

00:05:32.332 --> 00:05:34.634
WHY WRITE A FICTIONAL FILM
ABOUT HIM

00:05:34.634 --> 00:05:37.403
WHEN I COULD GET THE TRUTH
FROM HER?

00:05:37.403 --> 00:05:40.139 line:0%
SO WITH THE HELP
OF MY ITALIAN FRIEND LETIZIA,

00:05:40.139 --> 00:05:42.942 line:0%
I FOUND CELESTINA'S PHONE NUMBER
AND CALLED HER.

00:05:42.942 --> 00:05:45.778 align:start size:78% position:22%
IT HAPPENED TO BE
HER 84th BIRTHDAY.

00:05:45.778 --> 00:05:47.347
Buonasera, signora.

00:05:47.347 --> 00:05:48.681
-Buonasera.

00:05:48.681 --> 00:05:50.416
-Letizia,
if you could translate,

00:05:50.416 --> 00:05:52.352
I'm very pleased
to be speaking to her,

00:05:52.352 --> 00:05:54.554
because I've wanted to know
about her father

00:05:54.554 --> 00:05:56.389
for such a long time.

00:05:56.389 --> 00:05:59.359
I TOLD CELESTINA
I WAS MAKING A DOCUMENTARY.

00:05:59.359 --> 00:06:02.462
SHE AGREED TO LET ME
INTERVIEW HER ON CAMERA.

00:06:05.431 --> 00:06:09.736
MY WIFE, JUSTINE, AND I
FLEW FROM LOS ANGELES TO MILAN.

00:06:09.736 --> 00:06:13.639
WE MET UP WITH LETIZIA
AND MY SMALL ITALIAN CREW,

00:06:13.639 --> 00:06:15.975
AND WE WENT TO SEE CELESTINA.

00:06:15.975 --> 00:06:17.276
-HERE WE GO!

00:06:22.348 --> 00:06:24.917
-PERUGGIA'S DAUGHTER
LIVES IN NORTHERN ITALY

00:06:24.917 --> 00:06:26.953
CLOSE TO THE SWISS BORDER

00:06:26.953 --> 00:06:28.888
IN A TOWN CALLED DUMENZA.

00:06:28.888 --> 00:06:34.994
IT'S WHERE BOTH SHE AND
HER FATHER, VINCENZO, WERE BORN.

00:06:34.994 --> 00:06:37.063
IN THE MAIN PIAZZA,

00:06:37.063 --> 00:06:40.366
WE WERE MET BY CELESTINA'S
DAUGHTER, GRAZIELLA.

00:06:46.272 --> 00:06:47.673 line:0%
-VERY, VERY TIRED.

00:06:50.076 --> 00:06:51.077
-BUONASERA.

00:06:51.077 --> 00:06:52.078
-BUONASERA.

00:06:52.078 --> 00:06:54.247
-BUONASERA. SIGNORA!

00:06:54.247 --> 00:06:58.151
SO THIS WAS CELESTINA PERUGGIA.

00:06:58.151 --> 00:07:00.920
SHE DIDN'T SEEM LIKE
THE DAUGHTER OF A CRIMINAL.

00:07:00.920 --> 00:07:03.990
SHE LOOKED AND ACTED LIKE
THE LITTLE ITALIAN GRANDMOTHER

00:07:03.990 --> 00:07:05.725
I ALWAYS WANTED.

00:07:05.725 --> 00:07:07.160
-SI!

00:07:10.062 --> 00:07:11.397
-[ SPEAKS ITALIAN ]

00:07:11.397 --> 00:07:13.800
[ LAUGHTER ]

00:07:13.800 --> 00:07:16.169
- WE MET HER HUSBAND, AMLETO,

00:07:16.169 --> 00:07:18.404
HER SON, SILVIO,

00:07:18.404 --> 00:07:20.573
TOOK LOTS OF PICTURES...

00:07:20.573 --> 00:07:21.641
[ CAMERA SHUTTER CLICKS ]

00:07:21.641 --> 00:07:23.376
...AND ATE LOTS OF CAKE.

00:07:23.376 --> 00:07:24.544
-FRUITCAKE.

00:07:24.544 --> 00:07:25.678
[ DOG WHINES ]

00:07:25.678 --> 00:07:27.447
[ BOTH SPEAK ITALIAN ]

00:07:27.447 --> 00:07:30.450
-FINALLY,
IT WAS TIME TO ASK CELESTINA

00:07:30.450 --> 00:07:34.120
TO TELL ME EVERYTHING SHE KNEW
ABOUT HER FATHER.

00:08:13.493 --> 00:08:14.660 line:0%
[ TIRES SCREECH ]

00:08:14.660 --> 00:08:16.829
WHAT? SHE DIDN'T KNOW HIM?

00:08:16.829 --> 00:08:18.531
-[ SPEAKS ITALIAN ]

00:08:18.531 --> 00:08:20.533
-SURE,
SHE HAD PICTURES OF HER FATHER,

00:08:20.533 --> 00:08:23.603
LIKE THIS WELL-KNOWN IMAGE
FROM AN OLD NEWSPAPER.

00:08:23.603 --> 00:08:25.037
-THAT'S THE ORIGINAL.

00:08:25.037 --> 00:08:28.107
-BUT SHE ALSO HAD PHOTOS
I'D NEVER SEEN BEFORE.

00:08:28.107 --> 00:08:33.145
HE LOOKED LIKE A RESPECTABLE,
FRIENDLY, FAMILY KIND OF GUY.

00:08:34.514 --> 00:08:36.249
WOW.

00:08:36.249 --> 00:08:37.850
-[ SPEAKS ITALIAN ]

00:08:37.850 --> 00:08:41.187
-IT'S THE LAST PICTURE
OF VINCENZO BEFORE HIS DEATH.

00:08:43.356 --> 00:08:48.060
-VINCENZO PERUGGIA DIED
OCTOBER 8, 1925,

00:08:48.060 --> 00:08:50.062
ON HIS BIRTHDAY.

00:08:50.062 --> 00:08:52.932
CELESTINA WAS A TODDLER.

00:09:33.306 --> 00:09:36.509
NEARLY TWO YEARS AFTER
VINCENZO PERUGGIA DIED,

00:09:36.509 --> 00:09:40.413
HIS WIDOW REMARRIED TO HER
LATE HUSBAND'S YOUNGEST BROTHER,

00:09:40.413 --> 00:09:41.981
ERNESTO.

00:09:51.324 --> 00:09:55.261
CELESTINA GREW UP RAISED
BY HER MOTHER AND STEPFATHER,

00:09:55.261 --> 00:09:59.298
BUT NO ONE EVER TOLD HER
THAT HER REAL FATHER, VINCENZO,

00:09:59.298 --> 00:10:01.267
STOLE THE "MONA LISA."

00:10:07.340 --> 00:10:08.908
IT'S EASY TO UNDERSTAND.

00:10:08.908 --> 00:10:11.944
PERUGGIA DIDN'T COME FROM
A FAMILY OF CRIMINALS.

00:10:20.152 --> 00:10:24.924
AT 18, CELESTINA BEGAN WORKING
AT THE CITY HALL.

00:10:24.924 --> 00:10:28.494 line:0%
HER COWORKERS WOULD KIDDINGLY
CALL HER "GIOCONDINA,"

00:10:28.494 --> 00:10:29.862 line:0%
"LITTLE MONA LISA."

00:10:33.866 --> 00:10:36.535
WHEN SHE WAS ABOUT TO TURN 20,

00:10:36.535 --> 00:10:39.038
SHE WAS FINALLY TOLD THE TRUTH
ABOUT HER FATHER

00:10:39.038 --> 00:10:41.741
BY HER FUTURE HUSBAND'S AUNT.

00:10:58.391 --> 00:11:00.993
AS I WANDERED AROUND DUMENZA,

00:11:00.993 --> 00:11:02.495
I NOTICED THERE WASN'T
A PERUGGIA T-SHIRT

00:11:02.495 --> 00:11:05.231
OR "MONA LISA"
REFRIGERATOR MAGNET

00:11:05.231 --> 00:11:07.299
FOR SALE ANYWHERE.

00:11:07.299 --> 00:11:10.302
IN FACT, THERE WAS NO SIGN
THE MAN HAD EVER LIVED HERE.

00:11:10.302 --> 00:11:14.006
NO VIA PERUGGIA,
NO PIAZZA PERUGGIA,

00:11:14.006 --> 00:11:16.442
NOT EVEN A PIZZERIA PERUGGIA.

00:11:16.442 --> 00:11:18.377
IN THE TOWN HALL,
THERE WAS A MURAL

00:11:18.377 --> 00:11:21.781
COMMEMORATING THE "MONA LISA"'s
RETURN TO ITALY.

00:11:21.781 --> 00:11:25.184
THERE'S THE "MONA LISA"
AND LEONARDO

00:11:25.184 --> 00:11:27.353
BUT NO PERUGGIA.

00:11:28.421 --> 00:11:29.855
-[ SPEAKS ITALIAN ]

00:11:29.855 --> 00:11:32.558 line:0%
-WHEN I MET THE VICE MAYOR
OF THE TOWN, A PERUGGIA COUSIN,

00:11:32.558 --> 00:11:36.696 line:0%
I ASKED HIM WHY THERE WAS NO
MEMORIAL TO VINCENZO PERUGGIA.

00:11:36.696 --> 00:11:38.330 line:0%
-[ LAUGHS ]

00:11:40.099 --> 00:11:41.901 line:0%
THEY ASKED TO DO THAT.

00:11:41.901 --> 00:11:45.404
-HE EXPLAINED THE LAW PROHIBITS
ITALIANS WHO HAVE BEEN ON TRIAL

00:11:45.404 --> 00:11:48.941
FROM HAVING A STREET OR STATUE
IN THEIR HONOR.

00:11:56.449 --> 00:11:58.851
YET ON A WALL
IN THE VILLAGE SQUARE,

00:11:58.851 --> 00:12:02.121
YOU CAN SEE A MEMORIAL
TO ANOTHER FAMOUS ITALIAN --

00:12:02.121 --> 00:12:03.789
MUSSOLINI.

00:12:03.789 --> 00:12:05.825
[ CROWD CHEERING ]

00:12:07.560 --> 00:12:11.063
THERE WAS EVEN
THIS UNOFFICIAL STREET SIGN.

00:12:11.063 --> 00:12:15.101
IT READ,
"WATCH OUT FOR FALLING TONI."

00:12:15.101 --> 00:12:17.570
GRAZIELLA SAID
TONI WAS SOMEONE WHO GOT DRUNK

00:12:17.570 --> 00:12:22.141
AND TUMBLED DOWN THIS RAVINE
TRYING TO RETRIEVE HIS CAR KEYS.

00:12:22.141 --> 00:12:23.509
[ BELL TOLLS ]

00:12:23.509 --> 00:12:26.579
THE ONLY PLACE IN DUMENZA WE SAW
THE NAME VINCENZO PERUGGIA

00:12:26.579 --> 00:12:29.415
WAS IN THE TOWN CEMETERY.

00:12:29.415 --> 00:12:31.550
CELESTINA PLACED A HEADSTONE
IN HIS MEMORY,

00:12:31.550 --> 00:12:33.185
BUT HE'S NOT HERE.

00:12:33.185 --> 00:12:35.554
HE WAS ACTUALLY
BURIED IN FRANCE.

00:12:36.956 --> 00:12:39.525
LET'S TALK ABOUT THE THEFT

00:12:39.525 --> 00:12:43.429
AND WHY SHE THINKS
HER FATHER STOLE THE PAINTING.

00:13:01.580 --> 00:13:04.016
-"MACARONI. MACARONI."

00:13:25.838 --> 00:13:29.208
-WHAT WOULD SHE LIKE US TO DO
IN THIS FILM?

00:13:29.208 --> 00:13:31.477
-[ SIGHS ]

00:13:51.497 --> 00:13:54.433
CELESTINA BELIEVED THAT
HER FATHER STOLE THE "MONA LISA"

00:13:54.433 --> 00:13:55.734
OUT OF PATRIOTISM,

00:13:55.734 --> 00:13:58.971
TO RETURN AN ITALIAN PAINTING
TO ITS HOME COUNTRY.

00:13:58.971 --> 00:14:02.174 align:start size:88% position:13%
BUT I KNEW THERE HAD TO
BE MORE TO IT THAN THAT.

00:14:02.174 --> 00:14:04.076
I THINK THE SIGNORA
WANTS TO KNOW THE TRUTH

00:14:04.076 --> 00:14:05.778
AS MUCH AS WE WANT
TO KNOW THE TRUTH,

00:14:05.778 --> 00:14:07.479
AND THERE MAY BE SOME THINGS

00:14:07.479 --> 00:14:08.981
SHE WON'T LIKE TO HEAR
ABOUT HER FATHER.

00:14:11.417 --> 00:14:12.718
GOOD. OKAY.

00:14:12.718 --> 00:14:15.621
I PROMISED CELESTINA
I'D SPEND THE NEXT FIVE MONTHS

00:14:15.621 --> 00:14:18.424
FINDING OUT EVERYTHING I COULD
ABOUT HER FATHER

00:14:18.424 --> 00:14:21.093
AND THEN
I'D COME BACK TO SEE HER.

00:14:25.831 --> 00:14:27.433
-THAT'S ALL SHE WANTS.
-THE TRUTH.

00:14:27.433 --> 00:14:29.368
-THE TRUTH.
-YEAH.

00:14:33.572 --> 00:14:37.409
THE NEXT DAY, I WAS LAID UP
WITH A TORN MENISCUS IN MY KNEE

00:14:37.409 --> 00:14:40.946
FROM THINKING I WAS YOUNG ENOUGH
TO CARRY MY CAMERA GEAR ALONE.

00:14:42.248 --> 00:14:44.717
BUT IT WASN'T AS BAD
AS THE FOOT I PUT IN MY MOUTH

00:14:44.717 --> 00:14:46.986
FROM THE PROMISE
I MADE CELESTINA.

00:14:46.986 --> 00:14:49.488
HOW WAS I GONNA FIND THE TRUTH
ABOUT HER FATHER

00:14:49.488 --> 00:14:52.157
WHEN NO ONE KNOWS
WHAT THAT TRUTH IS?

00:14:53.225 --> 00:14:54.894
I'VE BEEN GOING ROUND AND ROUND
WITH THE SAME STORY

00:14:54.894 --> 00:14:56.095
FOR 30 YEARS.

00:14:56.095 --> 00:14:58.163
HE STOLE IT FOR MONEY.
HE STOLE IT FOR ITALY.

00:14:58.163 --> 00:15:00.499
HE STOLE IT FOR THE HELL OF IT.
HE STOLE IT BY MISTAKE.

00:15:00.499 --> 00:15:02.601
AROUND AND AROUND
AND AROUND AND AROUND.

00:15:02.601 --> 00:15:05.304
-YES, BECAUSE HE'S DEAD,
AND THE "MONA LISA" CAN'T TALK.

00:15:05.304 --> 00:15:06.906
END OF STORY.
-ALL RIGHT, END OF STORY.

00:15:06.906 --> 00:15:07.907
TURN OFF THE CAMERA.

00:15:07.907 --> 00:15:09.675
JUSTINE WAS RIGHT.

00:15:09.675 --> 00:15:11.877
PERUGGIA'S DEAD,
AND THE PAINTING CAN'T TALK.

00:15:11.877 --> 00:15:13.379
-Shh!

00:15:13.379 --> 00:15:15.514
-I HAD TO DO
SOME REAL DETECTIVE WORK.

00:15:15.514 --> 00:15:17.416
LUCKILY,
I KNEW A REAL DETECTIVE.

00:15:17.416 --> 00:15:19.852
-SOMETHING HAPPENED IN 1911,

00:15:19.852 --> 00:15:21.787
AND THERE'S NO PHYSICAL EVIDENCE
ANYMORE,

00:15:21.787 --> 00:15:23.689
AND THE PEOPLE WHO WERE THERE
ARE DEAD.

00:15:23.689 --> 00:15:26.191
ARE THERE ANY WRITINGS ANYWHERE?

00:15:26.191 --> 00:15:27.960
-THERE ARE.

00:15:27.960 --> 00:15:30.663
THESE ARE SOME OF THE MAGAZINES
AND NEWSPAPERS FROM BACK THEN

00:15:30.663 --> 00:15:32.064
THAT TALK ABOUT THE THEFT,

00:15:32.064 --> 00:15:35.334
BUT THEY'RE FULL OF
CONTRADICTIONS AND INACCURACIES,

00:15:35.334 --> 00:15:38.070
NOT GOOD
FOR TELLING THE TRUE STORY.

00:15:38.070 --> 00:15:40.472
AND IN ALL THE BOOKS
ABOUT THE THEFT,

00:15:40.472 --> 00:15:42.875
THERE'S A LOT ABOUT
HOW IT WAS DONE

00:15:42.875 --> 00:15:45.444
BUT LITTLE ABOUT THE MAN
WHO DID IT.

00:15:45.444 --> 00:15:48.514
SO I CONTACTED A FRIEND IN PARIS

00:15:48.514 --> 00:15:51.951
TO HELP ME GET INFORMATION
FROM THE LOUVRE.

00:15:51.951 --> 00:15:53.419
SHE KNEW TWO RESEARCHERS

00:15:53.419 --> 00:15:56.355
WHO LIVED RIGHT ACROSS
THE STREET FROM THE MUSEUM.

00:15:56.355 --> 00:15:59.091 line:0%
THEY HIT EVERY ARCHIVE
IN THE CITY

00:15:59.091 --> 00:16:01.994 line:0%
AND E-MAILED ME
1,500 DIGITAL IMAGES

00:16:01.994 --> 00:16:04.964
OF LOUVRE DOCUMENTS,
POLICE REPORTS,

00:16:04.964 --> 00:16:08.000
PHOTOGRAPHS,
AND NEWSPAPER CLIPPINGS.

00:16:11.437 --> 00:16:16.175
OKAY, IT'S 6:45 IN THE MORNING
HERE ON MAY 15th,

00:16:16.175 --> 00:16:18.577
AND I'M JUST DOWNLOADING
A BUNCH OF DOCUMENTS.

00:16:18.577 --> 00:16:20.746
OH, WOW.

00:16:20.746 --> 00:16:22.982
IT'S LIKE I'M A KID
AT CHRISTMAS HERE.

00:16:22.982 --> 00:16:26.251
THESE ARE THE MUG SHOTS FROM
PERUGGIA'S ARREST IN FLORENCE

00:16:26.251 --> 00:16:27.953
IN DECEMBER 1913

00:16:27.953 --> 00:16:29.955
FOR STEALING THE "MONA LISA."

00:16:29.955 --> 00:16:32.891
I'VE NEVER SEEN ANYONE
IN A MUG SHOT WEARING A HAT.

00:16:32.891 --> 00:16:36.228 align:start size:78% position:22%
MY WIFE, JUSTINE,
WAS NOT IMPRESSED.

00:16:36.228 --> 00:16:37.997
-I CAN'T DEAL WITH ALL OF THIS.

00:16:37.997 --> 00:16:40.699
IT'S TOO MUCH INFORMATION,
AND IT'S TOO EARLY,

00:16:40.699 --> 00:16:42.134
AND I'M IN MY UNDERWEAR.

00:16:42.134 --> 00:16:45.504
-NOW THAT I HAD THE STEADY
STREAM OF SOURCE MATERIAL,

00:16:45.504 --> 00:16:48.507
I HAD TO FIGURE OUT
WHAT IT ALL SAID.

00:16:48.507 --> 00:16:51.176
I TRIED DOING THAT BY TYPING
SENTENCES WORD-FOR-WORD

00:16:51.176 --> 00:16:52.544
INTO GOOGLE TRANSLATE.

00:16:52.544 --> 00:16:54.646
"THE AUDACIOUS THIEF
OF THE 'MONA LISA'

00:16:54.646 --> 00:16:56.949
IS ONE OF THOSE FOREIGNERS
WHO FELL IN PARIS

00:16:56.949 --> 00:16:58.484
AT CERTAIN TIMES OF THE YEAR."

00:16:58.484 --> 00:17:00.052
WHAT?

00:17:00.052 --> 00:17:03.555
WELL, THAT DIDN'T WORK,
BUT THESE PEOPLE RESCUED ME --

00:17:03.555 --> 00:17:05.858
MY VOLUNTEER TRANSLATORS.

00:17:05.858 --> 00:17:09.561
THEY READ THE ITALIAN
AND FRENCH DOCUMENTS IN ENGLISH.

00:17:09.561 --> 00:17:13.732
OVER THE NEXT SEVERAL MONTHS,
THESE TRANSLATIONS HELPED ME

00:17:13.732 --> 00:17:17.269
PIECE TOGETHER
THE REAL STORY OF PERUGGIA.

00:17:17.269 --> 00:17:20.472
I STARTED
AT THE SCENE OF THE CRIME.

00:17:25.677 --> 00:17:28.047
THE PAINTING DISAPPEARED
ON A MONDAY,

00:17:28.047 --> 00:17:31.417
A DAY WHEN THE LOUVRE WAS CLOSED
FOR ITS WEEKLY CLEANING.

00:17:31.417 --> 00:17:35.020
MOST OF THE GUARDS DIDN'T NOTICE
THE EMPTY SPACE ON THE WALL,

00:17:35.020 --> 00:17:36.855
BUT THE ONES WHO DID THOUGHT...

00:17:47.332 --> 00:17:48.600
ON MONDAYS,

00:17:48.600 --> 00:17:51.336
THE MUSEUM PHOTOGRAPHER
OFTEN REMOVED PAINTINGS

00:17:51.336 --> 00:17:54.406
TO SHOOT THEM FOR POSTCARDS
AND CATALOGS.

00:17:54.406 --> 00:17:57.509
THE NEXT DAY,
THE MUSEUM REOPENED.

00:17:57.509 --> 00:18:01.180
THE "MONA LISA"
WAS STILL MISSING.

00:18:01.180 --> 00:18:02.514
AROUND 11:00 A.M.,

00:18:02.514 --> 00:18:05.684
A LOUVRE GUARD STUMBLED ON
THE PAINTING'S EMPTY FRAME

00:18:05.684 --> 00:18:07.953
ON A SERVICE STAIRCASE.

00:18:16.595 --> 00:18:19.331
MUSEUM DIRECTOR
THéOPHILE HOMOLLE

00:18:19.331 --> 00:18:20.699
WAS ON VACATION.

00:18:20.699 --> 00:18:24.536
HE LEFT ONE OF HIS CURATORS
IN CHARGE.

00:18:33.078 --> 00:18:35.280 line:0%
-[ LAUGHS ]

00:18:35.280 --> 00:18:36.381 line:0%
PBHT!

00:18:41.520 --> 00:18:44.623
-THE PREFECT OF PARIS POLICE,
LOUIS LéPINE,

00:18:44.623 --> 00:18:46.391
THE MAN NEWSPAPERS CALLED

00:18:46.391 --> 00:18:48.427
"THE GREATEST POLICEMAN
IN THE WORLD,"

00:18:48.427 --> 00:18:53.065
SENT AN ARMY OF DETECTIVES
TO SEARCH FOR THE "MONA LISA."

00:18:53.065 --> 00:18:56.201
WHEN THE POLICE ARRIVED,
MUSEUM STAFF TOLD VISITORS

00:18:56.201 --> 00:19:01.640
THE LOUVRE WAS CLOSING EARLY
BECAUSE OF A BROKEN WATER MAIN.

00:19:08.147 --> 00:19:11.283
PARIS WAS ROCKED BY THE NEWS.

00:19:11.283 --> 00:19:13.752
[ CRASH! ]

00:19:13.752 --> 00:19:16.889
-PARIS WAS THE CAPITAL
OF THE WORLD OF WESTERN ART.

00:19:16.889 --> 00:19:19.224
AND SO,
THE THEFT OF THE "MONA LISA"

00:19:19.224 --> 00:19:23.128
FROM, ESSENTIALLY, A FORTRESS
IN THE CENTER OF THE CITY,

00:19:23.128 --> 00:19:26.131
A LOT OF PEOPLE
WERE SHOCKED AND SADDENED.

00:19:26.131 --> 00:19:29.234
CROWDS SHOWED UP
OUTSIDE OF THE MUSEUM,

00:19:29.234 --> 00:19:31.170
LAID FLOWERS AT THE GATE,

00:19:31.170 --> 00:19:33.272
AS THOUGH SOMEONE
HAD PASSED AWAY.

00:19:33.272 --> 00:19:35.741
-AND EVERYONE
WAS THINKING THE SAME THING.

00:19:35.741 --> 00:19:38.343 line:0%
-"WHO IS THE PLUNKER
WHO HAS DONE THIS?

00:19:38.343 --> 00:19:41.480 line:0%
IS IT ONE OF THE STAFF?
IS IT ONE OF THE GUARDS?"

00:19:41.480 --> 00:19:45.417 line:0%
-REPORTS OF SUSPECTS
CAME FROM ALL OVER EUROPE.

00:19:45.417 --> 00:19:48.554 line:0%
COPS IN PARIS WERE ALERTED

00:19:48.554 --> 00:19:50.989 line:0%
THAT TWO MEN
CARRYING TWO FRAMED CANVASES

00:19:50.989 --> 00:19:53.192 line:0%
WERE ON A BOAT
HEADING FOR NEW YORK.

00:19:53.192 --> 00:19:55.494 line:0%
SPECIAL AGENTS
OF THE SECRET SERVICE,

00:19:55.494 --> 00:19:58.463 line:0%
CUSTOMS OFFICIALS,
WERE ALERTED ON VARIOUS ELEMENTS

00:19:58.463 --> 00:20:00.032 line:0%
THAT TURNED OUT TO BE NONSENSE.

00:20:01.233 --> 00:20:03.535 line:0%
-POLICE DISTRIBUTED 6,500 FLIERS

00:20:03.535 --> 00:20:06.171 line:0%
WITH A PICTURE
OF THE "MONA LISA"

00:20:06.171 --> 00:20:08.240 line:0%
SO PEOPLE WOULD KNOW IT
IF THEY SAW IT.

00:20:08.240 --> 00:20:09.641 line:0%
[ SPECTATORS MURMUR ]

00:20:09.641 --> 00:20:12.811 line:0%
-"MONA LISA" IN 1911
IS NOT THE "MONA LISA" NOW.

00:20:12.811 --> 00:20:15.347 line:0%
THE "MONA LISA" NOW
IS A GLOBAL ICON.

00:20:15.347 --> 00:20:18.850
-EVEN THE VENERABLE
WASHINGTON POST GOT IT WRONG.

00:20:18.850 --> 00:20:22.354
THEY PUBLISHED THIS PICTURE
AS THE "MONA LISA."

00:20:23.488 --> 00:20:28.026
-PARIS NEWSPAPERS BEGAN OFFERING
A REWARD OF 40,000 FRANCS,

00:20:28.026 --> 00:20:29.761
NO QUESTIONS ASKED.

00:20:29.761 --> 00:20:31.763
AND WHAT THIS MEANT
WAS, ESSENTIALLY,

00:20:31.763 --> 00:20:34.499
ANYONE COULD WRITE A LETTER
TO THEIR NEWSPAPER EDITOR

00:20:34.499 --> 00:20:38.537 align:start size:88% position:13%
BLAMING THEIR NEIGHBORS
OR THEIR RIVALS AT WORK.

00:20:38.537 --> 00:20:41.006 align:start size:78% position:22%
THEY WROTE LETTERS
BY THE THOUSANDS.

00:20:41.006 --> 00:20:43.575
IT WAS QUITE A MESS.

00:20:44.910 --> 00:20:48.547
-BUT AS THE WEEKS AND MONTHS
PASSED, THE THEFT WAS FORGOTTEN.

00:20:48.547 --> 00:20:50.849
BIGGER AND MORE IMPORTANT
HEADLINES

00:20:50.849 --> 00:20:52.784
TOOK THE PUBLIC'S ATTENTION AWAY

00:20:52.784 --> 00:20:55.721
FROM THE SEARCH
FOR THE MISSING MASTERPIECE.

00:20:58.323 --> 00:21:01.193
THEN, NEARLY 2 1/2 YEARS
AFTER THE THEFT,

00:21:01.193 --> 00:21:02.728
IN FLORENCE, ITALY...

00:21:02.728 --> 00:21:03.862
[ CRASH! ]

00:21:03.862 --> 00:21:06.999
...THE "MONA LISA"
SUDDENLY REAPPEARED.

00:21:06.999 --> 00:21:10.235
IT WAS TURNED IN
BY THE MAN WHO STOLE IT.

00:21:10.235 --> 00:21:13.605 line:0%
-PERUGGIA WAS TAKING
THE "MONA LISA" HOME.

00:21:13.605 --> 00:21:17.009 line:0%
HE EXPECTED BANDS.
HE EXPECTED MEDALS.

00:21:17.009 --> 00:21:20.312 line:0%
-WHAT HE GOT INSTEAD
WERE HANDCUFFS.

00:21:25.817 --> 00:21:28.420 line:0%
-TO MAKE
SUCH A PARTICULAR THEFT,

00:21:28.420 --> 00:21:30.255 line:0%
TO ENGAGE
IN SUCH A PARTICULAR VENTURE,

00:21:30.255 --> 00:21:31.657 line:0%
THERE HAVE TO BE OTHER REASONS.

00:21:31.657 --> 00:21:33.392 line:0%
THERE HAVE TO BE
UNCONSCIOUS MOTIVES.

00:21:33.392 --> 00:21:37.429
-LUCKILY, I FOUND THE KEY
TO PERUGGIA'S UNCONSCIOUS --

00:21:37.429 --> 00:21:40.098
HIS PSYCHIATRIC EVALUATION.

00:21:40.098 --> 00:21:44.569
AFTER HIS ARREST, HIS LAWYERS
WANTED A PSYCHIATRIST'S OPINION

00:21:44.569 --> 00:21:46.538
TO HELP BUILD HIS DEFENSE.

00:21:46.538 --> 00:21:50.309 align:start size:84% position:16%
AND THE MAN TO DO THAT
WAS DR. PAOLO AMALDI.

00:21:50.309 --> 00:21:54.379
-PAOLO AMALDI WAS A VERY
WELL-KNOWN PSYCHIATRIST.

00:21:54.379 --> 00:21:58.617 line:0%
HE WAS DIRECTOR OF
THE MENTAL HOSPITAL OF FLORENCE,

00:21:58.617 --> 00:22:01.153 line:0%
WHICH WAS
AN INCREDIBLY PRESTIGIOUS JOB.

00:22:01.153 --> 00:22:04.089
-AMALDI'S REPORT DETAILS

00:22:04.089 --> 00:22:07.326
THE EXTENSIVE MENTAL EXAMINATION
HE GAVE PERUGGIA.

00:22:07.326 --> 00:22:11.229
AND DR. AMALDI ARRIVED
AT A SURPRISING DIAGNOSIS.

00:22:11.229 --> 00:22:14.266
-ALTHOUGH PERUGGIA
DIDN'T SEEM VERY EMOTIONAL,

00:22:14.266 --> 00:22:16.702
HE SEEMED TO BE,
FOR THE MOST PART,

00:22:16.702 --> 00:22:19.471
A GOOD WORKER AND SINCERE,

00:22:19.471 --> 00:22:24.076
BUT HE DID, IN THE END, FIND HIM
TO BE MENTALLY DEFICIENT.

00:22:24.076 --> 00:22:25.811
-MENTALLY DEFICIENT?

00:22:25.811 --> 00:22:28.046
TO FIND OUT
WHAT AMALDI WAS THINKING ABOUT

00:22:28.046 --> 00:22:29.815
WHAT PERUGGIA WAS THINKING,

00:22:29.815 --> 00:22:32.050
I TRACKED DOWN
DR. AMALDI'S GRANDSON,

00:22:32.050 --> 00:22:33.919
PAULO SORBI.

00:22:33.919 --> 00:22:36.722
GROWING UP, SORBI HEARD STORIES
ABOUT PERUGGIA

00:22:36.722 --> 00:22:38.523
FROM HIS GRANDFATHER.

00:22:38.523 --> 00:22:41.259 line:0%
HE AND HIS WIFE, SABINA,
ARE COLLEGE PROFESSORS

00:22:41.259 --> 00:22:43.395 line:0%
AND HAVE STUDIED
THE PERUGGIA CASE.

00:23:01.813 --> 00:23:04.883
THE ACTUAL WORD DR. AMALDI USES
IN HIS REPORT

00:23:04.883 --> 00:23:06.885
IS "FRENASTENICO,"

00:23:06.885 --> 00:23:10.555
WHICH TRANSLATES TO "HALF-WIT."

00:23:10.555 --> 00:23:13.125
SO NOW AM I SUPPOSED TO
GO BACK TO CELESTINA

00:23:13.125 --> 00:23:14.893
AND TELL HER THAT HER FATHER
STOLE THE "MONA LISA"

00:23:14.893 --> 00:23:16.962
BECAUSE HE WAS A HALF-WIT?

00:23:24.069 --> 00:23:26.938 line:0%
THIS IS MY FRIEND
NANDO DE STEFANO,

00:23:26.938 --> 00:23:29.107 line:0%
OWNER OF AN L.A. PIZZA SHOP.

00:23:29.107 --> 00:23:32.411 line:0%
NANDO TRANSLATED
AMALDI'S PSYCHIATRIC REPORT

00:23:32.411 --> 00:23:35.213 line:0%
IN BETWEEN CUSTOMERS.

00:23:35.213 --> 00:23:40.385 line:0%
"VINCENZO PERUGGIA IS THE FIRST
OF THREE BROTHERS AND A SISTER.

00:23:40.385 --> 00:23:42.687 line:0%
ALL THREE OF THEM -- ALL OF THEM

00:23:42.687 --> 00:23:45.490 line:0%
ARE STILL LIVING
AND MENTALLY SANE."

00:23:45.490 --> 00:23:49.728
-BEING THE OLDEST SON, PERUGGIA
LEFT HIS HOME IN DUMENZA

00:23:49.728 --> 00:23:53.265
TO STRIKE OUT ON HIS OWN
AT A VERY EARLY AGE.

00:23:53.265 --> 00:23:56.001
-"AT 12 YEARS OLD,
HE WENT TO WORK IN MILANO,

00:23:56.001 --> 00:23:59.271
AND THEN HE LEARNED THE JOB
OF IMBIANCHINO."

00:23:59.271 --> 00:24:01.306
"IMBIANCHINO,"
WHICH IS NOT THE PAINTER,

00:24:01.306 --> 00:24:02.808
ARTIST, BUT THE --

00:24:02.808 --> 00:24:04.342
-THE HOUSE PAINTER.
-THE HOUSE PAINTER.

00:24:04.342 --> 00:24:07.546
-PERUGGIA WORKED IN MILAN
FOR SIX YEARS,

00:24:07.546 --> 00:24:11.116
THEN HE DID WHAT JUST ABOUT
EVERY MAN FROM HIS AREA DID --

00:24:11.116 --> 00:24:13.151
HE LEFT ITALY.

00:24:37.976 --> 00:24:39.344
AT THE AGE OF 20,

00:24:39.344 --> 00:24:43.014
VINCENZO PERUGGIA MADE
THE BIGGEST MOVE OF HIS LIFE...

00:24:43.014 --> 00:24:45.250
TO PARIS.

00:24:47.786 --> 00:24:51.623
-PARIS WAS A CITY
OF EXCITEMENT AND FUN.

00:24:54.960 --> 00:24:56.628
-TO MANY PEOPLE, YOU KNOW,

00:24:56.628 --> 00:24:58.430 line:0%
IT WAS LIKE
THE CAPITAL OF THE WORLD,

00:24:58.430 --> 00:25:00.365 line:0%
IF THERE IS EVER
A CAPITAL OF THE WORLD.

00:25:00.365 --> 00:25:04.402
-THE CAR
WAS NOW BECOMING WIDELY USED.

00:25:04.402 --> 00:25:07.339
THE SUBWAY HAD OPENED.

00:25:07.339 --> 00:25:10.342
THE MOVIE THEATERS WERE THERE.

00:25:11.910 --> 00:25:14.913
IT WAS, IN EVERY WAY, IT SEEMS
TO ME, A VERY MODERN CITY.

00:25:18.850 --> 00:25:22.621
-IN PARIS, PERUGGIA CONTINUED
TO WORK AS A HOUSE PAINTER

00:25:22.621 --> 00:25:26.758
RIGHT UP TO THE TIME HE FELL ILL
WITH AN OCCUPATIONAL DISEASE.

00:25:26.758 --> 00:25:32.063
-THE "INTOSSICAZIONE SATURNINA"
IS DUE TO PRESENCE OF LEAD.

00:25:32.063 --> 00:25:33.965
-SO HE GOT LEAD POISONING.
-YES.

00:25:33.965 --> 00:25:37.936
-IN A 1902 BOOK
CALLED "DANGEROUS TRADES,"

00:25:37.936 --> 00:25:40.338
PAINTERS WERE AT THE TOP
OF A LIST OF OCCUPATIONS

00:25:40.338 --> 00:25:42.207
GETTING LEAD POISONING.

00:25:42.207 --> 00:25:44.776
-IN THE LATE 1800s
AND EARLY 1900s,

00:25:44.776 --> 00:25:46.378
IF YOU WERE A PAINTER,

00:25:46.378 --> 00:25:50.115
YOU WERE STILL MIXING PURE
LEAD PASTE WITH LINSEED OIL.

00:25:50.115 --> 00:25:53.118 align:start size:91% position:9%
THE PAINTERS WERE HANDLING
AND EXPOSED TO THAT PASTE

00:25:53.118 --> 00:25:54.352
AND TO THE PAINT

00:25:54.352 --> 00:25:56.788
AND HAD THE PARTICLES
ALL OVER THEIR CLOTHES.

00:25:56.788 --> 00:25:59.057
THERE WAS
ESPECIALLY SEVERE EXPOSURE.

00:25:59.057 --> 00:26:02.160
-THIS WAS PERUGGIA'S
SECOND BOUT OF LEAD POISONING.

00:26:02.160 --> 00:26:05.196
THE FIRST TIME, HE WENT HOME
TO DUMENZA FOR TREATMENT.

00:26:05.196 --> 00:26:07.899
THIS TIME, HE WENT HERE --

00:26:07.899 --> 00:26:11.036
THE HOSPITAL LARIBOISIERE.

00:26:11.036 --> 00:26:13.705
WE FOUND HIS NAME
IN THE HOSPITAL RECORDS.

00:26:13.705 --> 00:26:16.675
HE WAS THERE FOR 15 DAYS.

00:26:16.675 --> 00:26:18.810 align:start size:81% position:19%
-IF YOU WERE TREATED
FOR LEAD POISONING,

00:26:18.810 --> 00:26:20.579
YOU HAD LEAD POISONING

00:26:20.579 --> 00:26:23.715
OF A SEVERITY
THAT IS RARELY SEEN TODAY

00:26:23.715 --> 00:26:26.518
AND THAT ANY DOCTOR
WOULD FIND HORRIFYING.

00:26:26.518 --> 00:26:30.522 align:start size:94% position:6%
-EXPOSURE TO LEAD CAN SHRINK
CERTAIN PARTS OF THE BRAIN,

00:26:30.522 --> 00:26:33.458
MOST PARTICULARLY
THE PREFRONTAL CORTEX

00:26:33.458 --> 00:26:37.796 line:0%
THAT IS INVOLVED WITH DECISION
MAKING AND LONG-TERM PLANNING.

00:26:37.796 --> 00:26:41.633
THERE'S A LOT OF EVIDENCE
SHOWING A STRONG LINK

00:26:41.633 --> 00:26:44.736 align:start size:84% position:16%
BETWEEN LEAD EXPOSURE
AND CRIMINAL BEHAVIOR.

00:26:44.736 --> 00:26:47.806
-IF LEAD POISONING
CAN CAUSE CRIMINAL BEHAVIOR,

00:26:47.806 --> 00:26:51.576
MAYBE THIS WOULD EXPLAIN WHY
PERUGGIA HAD TWO PRIOR ARRESTS.

00:26:53.011 --> 00:26:55.013
JUNE 1908.

00:26:55.013 --> 00:26:57.649
PERUGGIA WAS IN THE FRENCH CITY
OF MACON

00:26:57.649 --> 00:26:59.384
ON HIS WAY BACK TO PARIS.

00:26:59.384 --> 00:27:02.053
WHILE HE WAITED
FOR A CONNECTING TRAIN,

00:27:02.053 --> 00:27:04.489
HE HAD A MEAL
WITH A LITTLE WINE.

00:27:04.489 --> 00:27:07.225
GOING BACK TO THE STATION,
HE SAW SOME KIDS

00:27:07.225 --> 00:27:11.129
ROLLING TERRA-COTTA PIPES
DOWN THE STREET.

00:27:11.129 --> 00:27:15.834 line:0%
-VINCENZO PERUGGIA STOPPED
HIMSELF TO SAY TO THESE GUYS,

00:27:15.834 --> 00:27:17.736 line:0%
"HEY, WHAT ARE YOU DOING?
WHAT IS THAT?"

00:27:17.736 --> 00:27:21.306
-AS THE KIDS RAN AWAY,
PERUGGIA PICKED UP THE PIPES,

00:27:21.306 --> 00:27:24.709
BUT INTOXICATED, HE DROPPED ONE.

00:27:24.709 --> 00:27:28.346
SOME PASSERSBY SAW HIM
AND SHOUTED, "THIEF! ITALIAN!"

00:27:28.346 --> 00:27:30.348
-IN THE MEANTIME,
THE POLICE CAME.

00:27:30.348 --> 00:27:34.486 align:start position:0%
-FOR THE FIRST TIME IN HIS LIFE,
VINCENZO PERUGGIA WAS ARRESTED.

00:27:34.486 --> 00:27:37.822
THE CHARGE -- ATTEMPTED THEFT.

00:27:37.822 --> 00:27:39.791
-[ SPEAKS FRENCH ]

00:27:40.959 --> 00:27:47.599 align:start size:81% position:19% line:0%
OKAY, IT LOOKS LIKE
ON JANUARY 24, 1909,

00:27:47.599 --> 00:27:49.901 line:0%
AROUND MIDNIGHT,
PLACE DE LA REPUBLIQUE,

00:27:49.901 --> 00:27:54.572 line:0%
HE MET A PROSTITUTE
BY THE NAME OF ABEILLE KAUFFMAN.

00:27:54.572 --> 00:27:56.508 line:0%
-HE SAID
THAT HE WAS COMING OUT OF A BAR,

00:27:56.508 --> 00:27:58.576 line:0%
AND, ALL OF A SUDDEN,
THIS WOMAN, YOU KNOW,

00:27:58.576 --> 00:28:00.578 line:0%
STARTED TO SAY, "HEY,
WHAT DO YOU WANT TO DO?

00:28:00.578 --> 00:28:02.347 line:0%
DO YOU WANT TO COME WITH ME?"
DA-DA-DA.

00:28:02.347 --> 00:28:04.416 line:0%
BUT HE DIDN'T FEEL LIKE IT.
HE WASN'T IN THE MOOD.

00:28:04.416 --> 00:28:06.918 line:0%
-THAT'S WHAT PERUGGIA
TOLD DR. AMALDI.

00:28:06.918 --> 00:28:09.320 line:0%
BUT THE WOMAN TOLD THE POLICE
AND THE PRESS

00:28:09.320 --> 00:28:11.523 line:0%
A COMPLETELY DIFFERENT STORY.

00:28:11.523 --> 00:28:13.124 line:0%
-THE WOMAN GOT AFRAID,

00:28:13.124 --> 00:28:16.461 line:0%
AND AS SHE TURNED AROUND,
HE HIT HER ON THE HECK.

00:28:16.461 --> 00:28:17.629 line:0%
-HIT HER ON THE NECK?

00:28:17.629 --> 00:28:20.365
-EVEN WORSE,
HE TOOK OUT HIS POCKETKNIFE.

00:28:20.365 --> 00:28:22.734
-[ SCREAMS ]

00:28:22.734 --> 00:28:24.369
-BUT IN THE COURT DOCUMENTS
WE FOUND,

00:28:24.369 --> 00:28:26.304
I DISCOVERED
THAT PERUGGIA WAS CHARGED

00:28:26.304 --> 00:28:28.073
WITH CARRYING A WEAPON

00:28:28.073 --> 00:28:31.576
AND NOT HAVING
HIS IMMIGRATION PAPERS.

00:28:31.576 --> 00:28:36.414
-BUT IT SAYS NOTHING
ABOUT HIM ASSAULTING SOMEBODY.

00:28:36.414 --> 00:28:40.885
-NEVERTHELESS, HE WAS
SENT TO JAIL FOR EIGHT DAYS.

00:28:41.986 --> 00:28:44.155
NOW, MAYBE PERUGGIA'S BEHAVIOR
WAS CAUSED

00:28:44.155 --> 00:28:48.660
BY HIS EXPOSURE TO TOO MUCH LEAD
OR TO TOO MUCH ALCOHOL.

00:28:48.660 --> 00:28:52.764
BUT TO HIM, THESE TWO ARRESTS
HAD A SIMPLE EXPLANATION.

00:28:52.764 --> 00:28:56.401 line:0%
-THEY WERE CERTAINLY LINKED,
IN PERUGGIA'S MIND,

00:28:56.401 --> 00:28:59.404 line:0%
WITH HATRED OF ITALIANS
IN FRANCE.

00:29:00.572 --> 00:29:03.074
-WELL, CERTAINLY THE ITALIANS

00:29:03.074 --> 00:29:06.678
WERE THE SINGLE BIGGEST
IMMIGRATION GROUP

00:29:06.678 --> 00:29:08.947
IN THE CITY OF PARIS
AROUND THIS TIME.

00:29:26.131 --> 00:29:28.633
-THE ITALIANS,
AT THAT POINT IN HISTORY,

00:29:28.633 --> 00:29:31.669
LOOKED AS THOUGH THEY WERE GONNA
SIDE WITH GERMANY

00:29:31.669 --> 00:29:35.106
AND THEY WOULD GO TO WAR
AGAINST FRANCE.

00:29:35.106 --> 00:29:39.144 line:0%
SO, BY ASSOCIATION,
ITALIANS WERE GUILTY,

00:29:39.144 --> 00:29:41.479 line:0%
AND THERE WERE LOTS OF PEOPLE
IN FRANCE

00:29:41.479 --> 00:29:44.916
WHO JUST DIDN'T LIKE ANYONE
FROM ITALY.

00:29:44.916 --> 00:29:48.019
-PERUGGIA CAME FACE-TO-FACE
WITH THIS PREJUDICE

00:29:48.019 --> 00:29:51.122
WHEN HE FOUND WORK
WITH A COMPANY NAMED GOBIER.

00:29:51.122 --> 00:29:54.893
ALTHOUGH HIS BOSSES CONSIDERED
HIM TO BE A FINE CRAFTSMAN,

00:29:54.893 --> 00:29:57.328
HIS FRENCH COWORKERS
HARASSED HIM.

00:29:57.328 --> 00:30:00.698
-IN FACT, PERUGGIA WAS CALLED
"SAL MACARONI" --

00:30:00.698 --> 00:30:03.301
"DIRTY MACARONI,"
"DIRTY ITALIAN."

00:30:03.301 --> 00:30:06.371
-THAT'S EXACTLY
WHAT CELESTINA TOLD ME.

00:30:06.371 --> 00:30:11.276
-AND THIS SEEMS TO HAVE
INFORMED HIS PSYCHOLOGY

00:30:11.276 --> 00:30:13.211
AND MADE HIM,
TO A CERTAIN EXTENT,

00:30:13.211 --> 00:30:14.879
IN AMALDI'S MIND,
A PARANOID,

00:30:14.879 --> 00:30:17.048
THAT THIS SHOWED UP
IN THE FACT

00:30:17.048 --> 00:30:21.052
THAT HE TOOK SUCH OFFENSE
TO INSULTS BY THE FRENCH.

00:30:27.058 --> 00:30:29.561
-I CAN NEVER UNDERSTAND HOW
A MENTALLY DEFICIENT IMMIGRANT

00:30:29.561 --> 00:30:31.095
WITH A CRIMINAL RECORD

00:30:31.095 --> 00:30:32.764
GOT A JOB AT THE LOUVRE.

00:30:32.764 --> 00:30:35.266
WELL,
IT HAPPENED BECAUSE OF THIS.

00:30:37.735 --> 00:30:41.573
TWO MASTERPIECES SLASHED
WITHIN TWO MONTHS OF EACH OTHER

00:30:41.573 --> 00:30:44.042
BY TWO MENTALLY-ILL PEOPLE.

00:30:44.042 --> 00:30:48.246
SECURITY AT THE LOUVRE
BECAME THE JOKE OF PARIS.

00:30:48.246 --> 00:30:50.682
-ONE OF THE NEWSPAPERS
HAD A PROPOSAL

00:30:50.682 --> 00:30:54.352
THAT THE FOLLOWING NOTICE BE
PLACED IN ALL FRENCH MUSEUMS...

00:31:00.892 --> 00:31:02.427
-[ SNORES ]

00:31:02.427 --> 00:31:06.497
-JOURNALISTS WHO WERE CONCERNED
ABOUT THE SYSTEM OF SECURITY

00:31:06.497 --> 00:31:10.568
ACTUALLY MADE OFF WITH PIECES
OF ART TO SHOW THIS IS POSSIBLE.

00:31:10.568 --> 00:31:12.704
"LET'S GET SERIOUS."

00:31:12.704 --> 00:31:14.372
-THE WAY THE LOUVRE GOT SERIOUS

00:31:14.372 --> 00:31:17.508
WAS TO TEAM UP BARKING DOGS
WITH THE NIGHT-SHIFT GUARDS...

00:31:17.508 --> 00:31:18.977
[ DOG BARKS ]

00:31:18.977 --> 00:31:23.348
...AND TO PUT THE MAJOR
MASTERPIECES BEHIND GLASS.

00:31:23.348 --> 00:31:26.284
PERUGGIA'S EMPLOYER, GOBIER,
HAD THE CONTRACT

00:31:26.284 --> 00:31:29.287
TO DO ALL THE GLASSWORK
IN THE LOUVRE.

00:31:29.287 --> 00:31:32.357
NORMALLY, THEY FIXED WINDOWS
AND REPAIRED SKYLIGHTS,

00:31:32.357 --> 00:31:34.893
BUT NOW THE MUSEUM
CALLED UPON THE COMPANY

00:31:34.893 --> 00:31:38.596
TO HELP COVER
1,600 MASTERPIECES.

00:31:38.596 --> 00:31:41.165
PERUGGIA WAS ONE
OF ONLY FIVE MEN

00:31:41.165 --> 00:31:43.968
ENTRUSTED
TO CUT AND CLEAN THE GLASS.

00:31:43.968 --> 00:31:47.872
AS HE WORKED,
SOMETHING PIQUED HIS INTEREST.

00:31:47.872 --> 00:31:50.008
-HE HEARD FROM EVERYBODY

00:31:50.008 --> 00:31:53.077
THAT THERE WAS
AN ENORMOUS AMOUNT OF PAINTINGS.

00:31:53.077 --> 00:31:55.847
THEY WERE FROM ITALIAN PAINTERS.

00:31:57.482 --> 00:31:59.350
-PERUGGIA DIDN'T UNDERSTAND

00:31:59.350 --> 00:32:02.787 align:start size:88% position:13%
WHY ALL THIS ITALIAN ART
WAS IN A FRENCH MUSEUM.

00:32:02.787 --> 00:32:05.990 align:start size:88% position:13%
SO HE ASKED THE LOUVRE'S
PICTURE FRAMER, PAVARD.

00:32:05.990 --> 00:32:08.760
-MONSIEUR PAVARD
WOULD NEVER ANSWER HIM

00:32:08.760 --> 00:32:11.663 align:start size:84% position:16%
AND ALWAYS HAVE DONE,
LIKE, A LITTLE, "HMM."

00:32:11.663 --> 00:32:13.298
YOU KNOW, A LITTLE SMILE.

00:32:13.298 --> 00:32:15.466
LIKE, HOW DO YOU SAY IN ENGLISH?
YOU KNOW...

00:32:15.466 --> 00:32:17.368
-A SMIRK?
-A SMIRK. EXACTLY.

00:32:17.368 --> 00:32:19.737
A LITTLE SMIRK.
SAYS, "OH, YOU FOOL," YOU KNOW.

00:32:19.737 --> 00:32:20.838
"YOU DON'T KNOW WHY?"

00:32:20.838 --> 00:32:23.408
-THEN ONE DAY,
PERUGGIA FOUND OUT WHY.

00:32:23.408 --> 00:32:26.010
-WHILE HE WAS WAITING
TO START THE JOB,

00:32:26.010 --> 00:32:29.347
HE TOOK A BOOK,
AND HE START TO LOOK THROUGH.

00:32:29.347 --> 00:32:33.851
AND HE SAW IN ONE OF THE PAGES
THIS CARAVAN OF PAINTINGS,

00:32:33.851 --> 00:32:36.854
STATUES
THAT WERE COMING FROM ITALY,

00:32:36.854 --> 00:32:40.291
LOOTED BY NAPOLEON PRIMO,
NAPOLEON I.

00:32:40.291 --> 00:32:42.860
-WHEN NAPOLEON
CONQUERED A COUNTRY,

00:32:42.860 --> 00:32:46.965
HE STRIPPED IT BARE OF ITS ART
AND SENT IT ALL BACK TO PARIS.

00:32:46.965 --> 00:32:50.668
TO NAPOLEON,
ITALY WAS ONE-STOP SHOPPING.

00:32:50.668 --> 00:32:52.737
-"NAPOLEON" WAS STILL KIND OF
A DIRTY WORD IN ITALY.

00:32:52.737 --> 00:32:56.007
NAPOLEON REALLY DID
A LOT OF DAMAGE IN ITALY.

00:32:56.007 --> 00:32:58.509
HE LEFT A RATHER BAD TRAIL,

00:32:58.509 --> 00:33:03.147
WHICH, 100 YEARS LATER,
MIGHT STILL HAVE BEEN FELT.

00:33:03.147 --> 00:33:05.950
-ALL PERUGGIA HAD TO DO
WAS GO INTO THE GALLERY

00:33:05.950 --> 00:33:09.454
WHERE THEY HAVE THE VERONESE
MASTERPIECE "THE FEAST OF CANA,"

00:33:09.454 --> 00:33:12.657
AND HE COULD SEE
A GIGANTIC ITALIAN WORK OF ART

00:33:12.657 --> 00:33:16.694
THAT WAS STOLEN FROM A VENETIAN
CHURCH AND WAS NEVER RETURNED.

00:33:16.694 --> 00:33:19.664
THERE ARE STILL WORKS
OF NAPOLEONIC LOOT

00:33:19.664 --> 00:33:21.466
THAT ARE STILL IN FRANCE.

00:33:21.466 --> 00:33:25.470
-"I WAS DISGUSTED,
AND I THOUGHT TO MYSELF,

00:33:25.470 --> 00:33:29.707
'IF I CAN AT LEAST TAKE
ONE OF THESE BACK TO ITALY,

00:33:29.707 --> 00:33:32.210
I WOULD HAVE DONE SOMETHING
THAT WOULD BE PATRIOTIC

00:33:32.210 --> 00:33:34.379
AND GOOD FOR MY COUNTRY.'"

00:33:34.379 --> 00:33:35.813
-OR AS CELESTINA SAID...

00:33:44.789 --> 00:33:47.158
THEY SAY
A CRIMINAL ALWAYS RETURNS

00:33:47.158 --> 00:33:48.860
TO THE SCENE OF THE CRIME,

00:33:48.860 --> 00:33:51.696
BUT IN THIS CASE,
IT WAS THE CRIMINAL'S GRANDSON.

00:33:57.969 --> 00:34:00.371
CELESTINA
WAS TOO FRAIL TO TRAVEL,

00:34:00.371 --> 00:34:03.074 line:0%
BUT SILVIO PERUGGIA
WAS MORE THAN HAPPY

00:34:03.074 --> 00:34:05.710 line:0%
TO RETRACE
HIS GRANDFATHER'S FOOTSTEPS.

00:34:45.249 --> 00:34:49.253
WE FILMED ON A DAY
WHEN THE LOUVRE WAS CLOSED.

00:34:49.253 --> 00:34:52.423
THERE WERE JUST A FEW WORKERS
IN THE ENTIRE MUSEUM.

00:34:52.423 --> 00:34:55.426
IT WAS EASY TO SEE WHY PERUGGIA

00:34:55.426 --> 00:34:57.962
PLANNED TO MAKE HIS MOVE
ON A MONDAY,

00:34:57.962 --> 00:35:01.132
THE DAY THE MUSEUM WAS CLOSED
IN 1911.

00:35:10.541 --> 00:35:13.878 line:0%
-"WHEN I WOKE UP,
I SAY TO MYSELF, 'THIS MORNING.

00:35:13.878 --> 00:35:15.780 line:0%
I'M GONNA GO THIS MORNING.'"

00:35:18.149 --> 00:35:21.953
-AT 6:00 A.M.,
PERUGGIA GOT UP, GOT DRESSED,

00:35:21.953 --> 00:35:24.956
AND LEFT HIS ROOM
IN THE 10th ARRONDISSEMENT,

00:35:24.956 --> 00:35:27.592
ABOUT TWO MILES FROM THE LOUVRE.

00:35:29.093 --> 00:35:31.496
PERUGGIA HAD STOPPED
DOING GLASSWORK AT THE MUSEUM

00:35:31.496 --> 00:35:32.797
EIGHT MONTHS EARLIER.

00:35:32.797 --> 00:35:36.968
HE HAD LEFT GOBIER
AND RETURNED TO HOUSE PAINTING.

00:35:36.968 --> 00:35:40.638 line:0%
-"I ARRIVED AT THE LOUVRE
AROUND 7:05.

00:35:40.638 --> 00:35:45.243 line:0%
I WAS WEARING
MY WHITE WORKER'S BLOUSE."

00:35:45.243 --> 00:35:48.913 align:start size:91% position:9% line:0%
-"I ENTERED WITHOUT NOBODY
SEEING ME IN THE MUSEUM."

00:35:58.856 --> 00:36:04.395 align:start size:97% position:3% line:0%
-"WHAT ROOMS HAVE YOU CROSSED
TO ARRIVE AT THE SALON CARRé?"

00:36:04.395 --> 00:36:09.233
PERUGGIA -- "I'VE CROSSED
THE FIRST-FLOOR ROOM

00:36:09.233 --> 00:36:13.104
THAT LEADS TO THE GRAND STAIRS.

00:36:13.104 --> 00:36:15.640
I CLIMBED THE STAIRS"...

00:36:16.974 --> 00:36:20.378
..."THEN I ARRIVED
IN THE SALON CARRé.

00:36:20.378 --> 00:36:22.914
I SAW THERE WAS NOBODY."

00:36:22.914 --> 00:36:27.552
-ON A TYPICAL DAY IN 1911,
THERE WERE 166 GUARDS.

00:36:27.552 --> 00:36:30.922
ON MONDAYS,
12 IN THE WHOLE MUSEUM.

00:36:30.922 --> 00:36:33.958
SO PERUGGIA WAS ALONE
WITH THE "MONA LISA."

00:36:36.093 --> 00:36:39.597
-"I WASN'T SURE THAT I WANTED
TO TAKE 'LA GIOCONDA.'

00:36:39.597 --> 00:36:43.901
THERE WAS TIZIANO, RAFFAELLO,
CORREGGIO, GIORGIONE.

00:36:43.901 --> 00:36:46.971 line:0%
BUT I MADE MY CHOICE
AT THE MOMENT."

00:36:59.383 --> 00:37:02.053
-BACK THEN, SHE WAS JUST
ANOTHER PAINTING ON THE WALL,

00:37:02.053 --> 00:37:04.455
NOT BEHIND
ANY PROTECTIVE BARRIER,

00:37:04.455 --> 00:37:07.858
JUST SIMPLY HUNG
ON FOUR METAL HOOKS.

00:37:15.233 --> 00:37:17.435
-"I TOOK IT
WITHOUT MAKING ANY NOISE,

00:37:17.435 --> 00:37:20.371
AND I WALKED SLOWLY
ON THE WOODEN FLOOR."

00:37:28.045 --> 00:37:31.315
-PERUGGIA KNEW HE HAD TO REMOVE
THE "MONA LISA" FROM HER FRAME.

00:37:31.315 --> 00:37:35.286
A NEARBY SERVICE STAIRCASE
WAS WHERE HE PLANNED TO DO IT.

00:37:35.286 --> 00:37:37.355
GOBIER'S MEN USED THIS STAIRCASE

00:37:37.355 --> 00:37:40.891
TO ACCESS THE GLASS ROOF
ABOVE THAT PART OF THE MUSEUM.

00:37:40.891 --> 00:37:42.293
BUT ON THAT MONDAY,

00:37:42.293 --> 00:37:46.163
THEY WERE REPAIRING THE ROOF
ON THE OTHER SIDE OF THE LOUVRE.

00:37:46.163 --> 00:37:49.233
-"I CAME DOWN THE SMALL STAIRS,

00:37:49.233 --> 00:37:52.903
LEAVING THE PICTURE
ON THE LANDING."

00:37:52.903 --> 00:37:56.741
-HE HID IT BEHIND SOME STUDENT
COPIES THAT WERE LEFT THERE.

00:37:56.741 --> 00:37:59.343
-"I WENT
TO THE END OF THE STAIRS

00:37:59.343 --> 00:38:01.345
TO SEE IF I COULD GET OUT."

00:38:01.345 --> 00:38:03.314
-PERUGGIA KNEW
HE COULD USE THE DOOR

00:38:03.314 --> 00:38:05.316
AT THE BOTTOM
OF THE SERVICE STAIRCASE

00:38:05.316 --> 00:38:07.051
TO EXIT THE MUSEUM.

00:38:07.051 --> 00:38:10.888
HE COULD GET OUT
EVEN FASTER THAN HE GOT IN.

00:38:10.888 --> 00:38:13.057 line:0%
-"BUT I FOUND
THAT DOOR WAS LOCKED."

00:38:13.057 --> 00:38:16.294
-"AND WITH A SCREWDRIVER
THAT I HAD BROUGHT WITH ME,

00:38:16.294 --> 00:38:19.530
I BEGAN TO TRY
TO UNDO THE LOCK."

00:38:19.530 --> 00:38:23.100
-"EVEN THOUGH I WAS ABLE
TO TAKE OFF THE KNOB,

00:38:23.100 --> 00:38:25.369
I WAS NOT ABLE
TO OPEN THE DOOR."

00:38:25.369 --> 00:38:28.806
-BUT THEN
SOMEONE CAME DOWN THE STAIRS.

00:38:35.079 --> 00:38:37.248
IF THIS WAS ONE OF GOBIER'S MEN,

00:38:37.248 --> 00:38:40.651
HE COULD HAVE RECOGNIZED
PERUGGIA, BUT IT WASN'T.

00:38:40.651 --> 00:38:43.487
IT WAS A PLUMBER
NAMED JULES SAUVé.

00:38:43.487 --> 00:38:45.556
HE DIDN'T KNOW PERUGGIA.

00:38:45.556 --> 00:38:48.426 line:0%
-WHEN SAUVé
CAME TO OPEN WITH HIS KEY,

00:38:48.426 --> 00:38:50.961 line:0%
HE NOTICED
THAT THE KNOB WAS OFF.

00:38:50.961 --> 00:38:52.263
-"HE ASKED ME ABOUT IT,

00:38:52.263 --> 00:38:54.832
AND I SAID TO HIM
THAT I DIDN'T KNOW ANYTHING."

00:38:54.832 --> 00:38:59.403
-THE WORKER WENT OUT,
AND HE LOCKED THE DOOR AGAIN.

00:38:59.403 --> 00:39:01.238
[ LOCK CLICKS ]
SO HE WAS STILL LOCKED IN.

00:39:01.238 --> 00:39:03.908
-HE WAS STILL LOCKED IN?
-YES.

00:39:03.908 --> 00:39:06.644
-PERUGGIA COULDN'T ESCAPE
THE WAY HE WANTED TO,

00:39:06.644 --> 00:39:10.815
SO HE RAN BACK UP THE STAIRS
AND RETRIEVED THE "MONA LISA."

00:39:10.815 --> 00:39:13.384
HE STRIPPED OFF
THE PAPER BACKING

00:39:13.384 --> 00:39:15.586
AND ROTATED THE FOUR METAL CLIPS

00:39:15.586 --> 00:39:18.789
THAT HELD THE PAINTING
IN THE FRAME.

00:39:18.789 --> 00:39:21.625
LIKE MANY ITALIAN
RENAISSANCE PAINTINGS,

00:39:21.625 --> 00:39:25.963
THE "MONA LISA" ISN'T ON CANVAS
BUT ON WOOD.

00:39:25.963 --> 00:39:28.666
REMOVING THE PANEL
WOULDN'T HAVE TAKEN VERY LONG,

00:39:28.666 --> 00:39:32.002
ACCORDING TO THE CONSERVATOR
IN CHARGE OF THE "MONA LISA."

00:39:37.742 --> 00:39:41.278
PERUGGIA HID THE FRAME
BEHIND THE OTHER CANVASES

00:39:41.278 --> 00:39:43.514
AND TOOK THE "MONA LISA"
BACK INTO THE MUSEUM

00:39:43.514 --> 00:39:46.317
THROUGH THE SAME DOOR
HE ENTERED.

00:39:46.317 --> 00:39:49.053
HE COULDN'T BE SEEN
CARRYING THE PAINTING,

00:39:49.053 --> 00:39:50.855
SO HE NEEDED TO COVER HER UP.

00:39:50.855 --> 00:39:53.190
HERE'S HOW MANY PEOPLE
THINK HE DID IT.

00:39:53.190 --> 00:39:55.593
-HE SLIPPED IT, SUPPOSEDLY,
UNDER HIS SMOCK.

00:39:55.593 --> 00:39:57.628
-BUT I DOUBT THAT.

00:39:57.628 --> 00:40:01.031
MY DAUGHTER JULIE IS 5'3",

00:40:01.031 --> 00:40:03.401
ROUGHLY THE SAME HEIGHT
AS PERUGGIA.

00:40:03.401 --> 00:40:05.236
AND THIS IS WHAT IT LOOKS LIKE

00:40:05.236 --> 00:40:08.105
TO TRY TO PUT THE "MONA LISA"
UNDER HER SMOCK.

00:40:08.105 --> 00:40:10.574
INSTEAD,
HERE'S WHAT PERUGGIA DID --

00:40:10.574 --> 00:40:13.844
TOOK OFF HIS SMOCK,
WRAPPED IT AROUND THE PAINTING,

00:40:13.844 --> 00:40:15.813
TUCKED IT UNDER HIS ARM,

00:40:15.813 --> 00:40:19.183
AND WALKED OUT OF THE MUSEUM
THE SAME WAY HE CAME IN.

00:40:20.785 --> 00:40:23.521
-"I FELT VERY CALM
AND VERY HAPPY

00:40:23.521 --> 00:40:25.256
TO DO WHAT I WAS DOING

00:40:25.256 --> 00:40:30.227 line:0%
AND TO BE ABLE TO BRING AT LEAST
ONE OF THESE BEAUTIFUL PAINTINGS

00:40:30.227 --> 00:40:32.296 line:0%
BACK TO ITALY, TO MY COUNTRY."

00:40:32.296 --> 00:40:35.266 line:0%
-"I GOT OUT OF THE LOUVRE
AROUND 7:30 IN THE MORNING."

00:40:35.266 --> 00:40:37.234
-"COMING OUT OF THE LOUVRE,

00:40:37.234 --> 00:40:40.971
I REMEMBERED THAT I HAD
THE DOORKNOB IN MY POCKET."

00:40:40.971 --> 00:40:42.840
-"I THREW IT IN THE DITCH

00:40:42.840 --> 00:40:45.976
BETWEEN THE FENCE
AND THE WALL OF THE LOUVRE.

00:40:45.976 --> 00:40:49.046
I SAW A BUS PASS BY,
AND I GOT ON IT."

00:40:49.046 --> 00:40:51.015
-"I IMMEDIATELY GOT OFF

00:40:51.015 --> 00:40:54.351
BECAUSE I REALIZED THAT BUS
WAS NOT GONNA TAKE ME HOME.

00:40:54.351 --> 00:40:58.322
THEN I JUMPED INTO
A HORSE-DRIVEN CAB.

00:40:58.322 --> 00:41:03.694
I ASKED THE DRIVER TO TAKE ME
DIRECTLY TO MY HOUSE."

00:41:10.401 --> 00:41:13.270
-FROM THE MOMENT
THE THEFT WAS DISCOVERED,

00:41:13.270 --> 00:41:15.239
THE BEST POLICE MINDS IN PARIS

00:41:15.239 --> 00:41:17.842
WERE HARD AT WORK
TRYING TO SOLVE THE CASE.

00:41:17.842 --> 00:41:20.177
-WHEN YOU WALK IN
TO AN INVESTIGATION

00:41:20.177 --> 00:41:23.113
AS A DETECTIVE, YOU HAVE NO CLUE
WHO DID THIS CRIME, OKAY?

00:41:23.113 --> 00:41:25.583
YOU HAVE NO IDEA.
IT COULD BE ANYONE IN THE WORLD.

00:41:25.583 --> 00:41:28.319
-ONE OF THE FIRST SUSPECTS
POLICE HAD

00:41:28.319 --> 00:41:30.187
WAS A MYSTERIOUS YOUNG MAN

00:41:30.187 --> 00:41:33.357
MUSEUM GUARDS OFTEN SAW
STARING AT THE "MONA LISA."

00:41:33.357 --> 00:41:36.627
-PERHAPS SOMEONE HAD
FALLEN IN LOVE WITH THE PAINTING

00:41:36.627 --> 00:41:39.096
AND, YOU KNOW, COULDN'T RESIST.

00:41:39.096 --> 00:41:41.365
IT MADE SENSE,
GIVEN THE "MONA LISA"

00:41:41.365 --> 00:41:44.969
AS A KIND OF ORIGINAL SEX SYMBOL
IN WESTERN ART.

00:41:54.712 --> 00:41:58.148
-FOREIGNERS LIKE...THE GERMANS.

00:41:58.148 --> 00:42:00.885
-WHAT BETTER TIME
THAN TO BLAME IT ON THE GERMANS,

00:42:00.885 --> 00:42:03.020 align:start size:78% position:22%
WHO WERE ABOUT TO
START WORLD WAR I?

00:42:05.422 --> 00:42:08.926
-MANY PEOPLE THOUGHT
THAT IT WAS STOLEN BY AMERICANS,

00:42:08.926 --> 00:42:11.362 line:0%
BECAUSE A LOT
OF WEALTHY AMERICANS

00:42:11.362 --> 00:42:13.998 line:0%
WERE BUYING
A LOT OF EUROPEAN ART.

00:42:13.998 --> 00:42:16.166 line:0%
-J.P. MORGAN BEING
THE FOREMOST OF THEM.

00:42:16.166 --> 00:42:18.168 line:0%
- YEAH,
AND THAT IT HAD LEFT FRANCE.

00:42:18.168 --> 00:42:21.138
-ONE OF THE THEORIES CIRCULATED
WAS THAT THE "MONA LISA"

00:42:21.138 --> 00:42:25.809
WAS TO BE FOUND IN
A LUXURY APARTMENT IN MANHATTAN.

00:42:25.809 --> 00:42:28.012
-WE HAVEN'T EVEN
TALKED ABOUT PICASSO.

00:42:28.012 --> 00:42:30.648
-YEP. PICASSO.

00:42:30.648 --> 00:42:32.650
SPANISH-BORN PABLO PICASSO

00:42:32.650 --> 00:42:36.086 align:start size:84% position:16%
AND HIS POLISH FRIEND
GUILLAME KOSTROWITSKY,

00:42:36.086 --> 00:42:38.355
BETTER KNOWN AS
THE POET APOLLINAIRE,

00:42:38.355 --> 00:42:40.658
WERE BOTH BROUGHT IN
FOR QUESTIONING.

00:42:40.658 --> 00:42:44.228
-PICASSO HAD USED STOLEN STATUES
FROM THE LOUVRE

00:42:44.228 --> 00:42:48.465
AS MODELS FOR HIS MOST IMPORTANT
PAINTING OF THIS PERIOD --

00:42:48.465 --> 00:42:51.335
"LES DEMOISELLES D'AVIGNON."

00:42:51.335 --> 00:42:53.837
-PICASSO DIDN'T KNOW
THE STATUES WERE STOLEN.

00:42:53.837 --> 00:42:56.040
HE HAD BOUGHT THEM
FROM THE THIEF,

00:42:56.040 --> 00:42:59.577
A MAN WHO HAD BEEN AN ASSISTANT
OF APOLLINAIRE.

00:42:59.577 --> 00:43:02.446
-GUILLAME APOLLINAIRE
WAS BROUGHT IN FOR QUESTIONING.

00:43:02.446 --> 00:43:04.915
HE ACTUALLY
SPENT A WEEK IN JAIL.

00:43:30.107 --> 00:43:33.243
-THE POLICE THOUGHT THEY FINALLY
HAD A BREAK IN THE CASE

00:43:33.243 --> 00:43:36.046
WHEN THEY DISCOVERED
THERE WERE TWO EYEWITNESSES.

00:43:36.046 --> 00:43:37.648
THE FIRST WAS SAUVé,

00:43:37.648 --> 00:43:41.151
THE PLUMBER WHO SAW PERUGGIA
IN THE STAIRCASE.

00:43:41.151 --> 00:43:44.555
BUT HERE'S HOW SAUVé
DESCRIBED THE MAN HE SAW.

00:43:44.555 --> 00:43:46.323
-"HE SEEMED TO BE TALL"...

00:43:46.323 --> 00:43:48.425
[ LAUGHS ] 5'3".

00:43:48.425 --> 00:43:51.261
..."WITH HAIR AND BEARD RED."

00:43:51.261 --> 00:43:52.896
-RED?

00:43:52.896 --> 00:43:57.167
THEN A SHOP CLERK NAMED
ANDRE BOUQUET CAME FORWARD.

00:43:57.167 --> 00:44:02.773 line:0%
-"HE SAW A PERSON
WHO WAS CARRYING A PACKAGE."

00:44:02.773 --> 00:44:05.843
-THAT WAS PERUGGIA
CARRYING THE "MONA LISA."

00:44:05.843 --> 00:44:07.745
-"HE WAS THROWING SOMETHING."

00:44:07.745 --> 00:44:11.115
-AND THAT "SOMETHING"
WAS THE DOORKNOB.

00:44:11.115 --> 00:44:14.485
BOUQUET WAS ACROSS THE STREET
AND BEHIND PERUGGIA,

00:44:14.485 --> 00:44:18.789
SO HE COULDN'T DESCRIBE HIM,
BUT HE SAID HE WORE A HAT.

00:44:18.789 --> 00:44:20.190
-MOST PEOPLE ARE NOT TRAINED

00:44:20.190 --> 00:44:22.126
TO OBSERVE
LIKE A POLICE OFFICER DOES,

00:44:22.126 --> 00:44:24.161 align:start size:81% position:19%
WHAT POLICE OFFICERS
ARE TRAINED TO DO.

00:44:24.161 --> 00:44:27.164
-BUT THE BIGGEST CLUE
THAT POLICE HAD

00:44:27.164 --> 00:44:30.367
WAS SOMETHING ELSE
PERUGGIA LEFT BEHIND.

00:44:32.970 --> 00:44:34.938
-THE FINGERPRINTS WERE FOUND

00:44:34.938 --> 00:44:38.409 line:0%
BY NOTED FRENCH CRIMINOLOGIST
ALPHONSE BERTILLON.

00:44:38.409 --> 00:44:40.778 line:0%
-BERTILLON
WAS THE ONE WHO FOUNDED

00:44:40.778 --> 00:44:43.781
SOME OF THE MODERN METHODS
OF IDENTIFICATION.

00:44:43.781 --> 00:44:45.983
-MOST OF THE PRINTS
WERE SMUDGED,

00:44:45.983 --> 00:44:48.185
BUT ONE WAS CLEAR ENOUGH
TO READ.

00:44:48.185 --> 00:44:51.388
AND EVEN THOUGH THE POLICE
HAD PERUGGIA'S PRINTS

00:44:51.388 --> 00:44:54.124
FROM HIS PREVIOUS ARREST
IN THEIR FILES,

00:44:54.124 --> 00:44:56.126
THEY DIDN'T MATCH IT.

00:44:56.126 --> 00:44:57.995
I ASKED A FINGERPRINT EXPERT

00:44:57.995 --> 00:45:00.664
FROM THE LOS ANGELES
POLICE DEPARTMENT

00:45:00.664 --> 00:45:03.600
TO COMPARE THE PRINTS
FROM PERUGGIA'S 1909 ARREST

00:45:03.600 --> 00:45:05.969
WITH THE LATENT PRINT
FOUND ON THE GLASS

00:45:05.969 --> 00:45:07.638
THAT COVERED THE "MONA LISA."

00:45:07.638 --> 00:45:12.743
-THE LATENT PRINT IS ONE IN
THE SAME AS THE LEFT THUMBPRINT.

00:45:12.743 --> 00:45:15.546
THEY ARE THE SAME INDIVIDUAL.

00:45:15.546 --> 00:45:18.115
-WE KNOW NOW
IT'S THE LEFT THUMBPRINT,

00:45:18.115 --> 00:45:22.119
BUT BERTILLON COULDN'T DETERMINE
WHICH FINGER THE PRINT WAS FROM.

00:45:22.119 --> 00:45:25.656
HE HAD 750,000 CRIMINALS
ON FILE.

00:45:25.656 --> 00:45:28.692
-THEY WOULD HAVE HAD TO HAVE
PULLED EVERY SINGLE CARD

00:45:28.692 --> 00:45:30.861
TO HAVE GONE THROUGH THAT.

00:45:30.861 --> 00:45:33.697
ON EACH ONE, YOU'VE GOT
10 FINGERS, OR 10 PRINTS.

00:45:33.697 --> 00:45:35.466
-BERTILLON WOULD HAVE HAD TO

00:45:35.466 --> 00:45:38.001
HAVE MADE UP TO
7.5 MILLION COMPARISONS

00:45:38.001 --> 00:45:40.838
TO MATCH PERUGGIA'S PRINTS.

00:45:40.838 --> 00:45:42.840
-IT'S OVERWHELMING.

00:45:42.840 --> 00:45:45.008
-SO BERTILLON
STARTED TAKING THE PRINTS

00:45:45.008 --> 00:45:47.111
OF EVERYONE
WITH ACCESS TO THE LOUVRE

00:45:47.111 --> 00:45:49.079
AT THE TIME OF THE THEFT.

00:45:49.079 --> 00:45:52.382
257 NAMES WERE ON HIS LIST.

00:45:56.286 --> 00:45:59.123
EVEN HOMOLLE,
THE HEAD OF THE MUSEUM.

00:45:59.123 --> 00:46:01.558
BUT THERE WERE NO MATCHES.

00:46:01.558 --> 00:46:04.328
SO POLICE THEN CALLED IN
GOBIER'S GLASSWORKERS

00:46:04.328 --> 00:46:06.029
TO BE FINGERPRINTED.

00:46:06.029 --> 00:46:09.399
THEY ALL SHOWED UP,
EXCEPT PERUGGIA.

00:46:15.839 --> 00:46:18.909
THIS WAS PERUGGIA'S NEIGHBORHOOD
IN PARIS.

00:46:18.909 --> 00:46:21.545
AT THE TIME, THE ITALIAN GHETTO.

00:46:21.545 --> 00:46:27.017
HE RENTED A TINY ROOM
AT 5 RUE DE L'HOPITAL ST. LOUIS.

00:46:31.555 --> 00:46:32.923
HERE WE GO.

00:46:32.923 --> 00:46:36.460
NUMBER 5 -- THE ADDRESS
FOR THE ENTIRE BLOCK OF FLATS.

00:46:36.460 --> 00:46:38.195
WHICH ROOM WAS PERUGGIA'S?

00:46:38.195 --> 00:46:40.998
I'D HAVE TO RING DOORBELLS
ALL AFTERNOON.

00:46:42.666 --> 00:46:46.537
BUT THEN THIS WOMAN TOLD US SHE
LIVED IN PERUGGIA'S APARTMENT

00:46:46.537 --> 00:46:49.439
AND THAT WE COULD SEE IT
IN A LITTLE WHILE.

00:46:49.439 --> 00:46:51.041
COULD WE REALLY BE THIS LUCKY?

00:46:51.041 --> 00:46:53.177
-[ LAUGHS ]

00:46:53.177 --> 00:46:55.179
-BUT AS WE WERE WAITING...

00:46:55.179 --> 00:46:57.447
[ GLASS SHATTERS ]
-OHH!

00:46:57.447 --> 00:47:01.251
-...PART OF A WINDOW FELL FROM
AN UPPER STORY, JUST MISSING US.

00:47:01.251 --> 00:47:03.520
MAYBE IT'S THE GHOST
OF VINCENZO.

00:47:03.520 --> 00:47:04.688
-BONJOUR.

00:47:04.688 --> 00:47:06.890
-I TOOK THAT
AS A MESSAGE FROM PERUGGIA

00:47:06.890 --> 00:47:08.358
WE WERE IN THE RIGHT PLACE.

00:47:08.358 --> 00:47:10.527
-COME IN.

00:47:12.396 --> 00:47:14.231
-MORE THAN 20 YEARS AGO,

00:47:14.231 --> 00:47:18.402
SEVERAL ROOMS WERE COMBINED
INTO ONE TWO-STORY APARTMENT.

00:47:18.402 --> 00:47:24.341
THIS IS THE OFFICIAL
POLICE PHOTO OF PERUGGIA'S ROOM.

00:47:24.341 --> 00:47:26.443
WERE WE REALLY IN THE PLACE

00:47:26.443 --> 00:47:30.080
HE HID THE MONA LISA
FOR NEARLY 2 1/2 YEARS?

00:47:30.080 --> 00:47:31.114
[ CAMERA SHUTTER CLICKS ]

00:47:31.114 --> 00:47:32.883
SURE LOOKED LIKE IT.

00:47:32.883 --> 00:47:37.254
BUT WHERE
DID HE KEEP THE PAINTING?

00:47:46.396 --> 00:47:48.465
SO WAS THE PAINTING ON THE TABLE

00:47:48.465 --> 00:47:50.868
WHEN PERUGGIA
GOT A SURPRISE VISIT

00:47:50.868 --> 00:47:54.738
FROM INSPECTOR BRUNET
OF THE SURETé, THE FRENCH FBI?

00:47:54.738 --> 00:47:56.907
THAT'S WHAT CELESTINA THINKS.

00:48:11.255 --> 00:48:13.357
FUNNY BUT FALSE.

00:48:14.558 --> 00:48:16.393
IN THE PARIS ARCHIVES,

00:48:16.393 --> 00:48:20.631
MY RESEARCHER STEPHANE
FOUND A NEW CACHE OF DOCUMENTS.

00:48:20.631 --> 00:48:22.065
-INSIDE OF IT,

00:48:22.065 --> 00:48:24.101
THERE'S ALMOST EVERYTHING
THAT'S ABOUT THE CASE.

00:48:24.101 --> 00:48:28.038
-ONE OF THE ITEMS
WAS THE ACTUAL POLICE DRAWING

00:48:28.038 --> 00:48:30.540
OF PERUGGIA'S 9x16 ROOM.

00:48:30.540 --> 00:48:34.745
AND I SAW THERE WAS ORIGINALLY
A CLOSET NEXT TO THE ROOM.

00:48:34.745 --> 00:48:37.014
IN FACT,
YOU COULD SEE INTO THE CLOSET

00:48:37.014 --> 00:48:39.082
FROM A WINDOW OVER HIS BED.

00:48:39.082 --> 00:48:42.185 align:start size:91% position:9%
AND THIS IS WHERE PERUGGIA
SAID HE HID THE PAINTING.

00:48:42.185 --> 00:48:45.522
-"THE PAINTING WAS WHERE I KEEP
MY WOOD FOR THE FIREPLACE."

00:48:45.522 --> 00:48:48.091
-SO WHY DIDN'T BRUNET
FIND THE "MONA LISA"?

00:48:48.091 --> 00:48:50.694
BECAUSE HE DIDN'T BOTHER
TO LOOK.

00:48:50.694 --> 00:48:53.630 line:0%
-"WHEN THE POLICEMAN
CAME INTO MY ROOM, I WAS DINING.

00:48:53.630 --> 00:48:55.032
I WAS HAVING DINNER.

00:48:55.032 --> 00:48:57.668
THE POLICEMAN, YOU KNOW,
HE INTERROGATED ME,

00:48:57.668 --> 00:49:00.871
AND I GAVE ALL THE ANSWER,
AND THEN HE WENT AWAY."

00:49:00.871 --> 00:49:02.205
THAT'S IT.

00:49:02.205 --> 00:49:05.242
-BRUNET COULD HAVE SOLVED
THE CASE RIGHT THEN AND THERE.

00:49:05.242 --> 00:49:07.511
HE KNEW ABOUT
PERUGGIA'S TWO ARRESTS

00:49:07.511 --> 00:49:10.814 align:start size:84% position:16%
FOR ATTEMPTED ROBBERY
AND CARRYING A WEAPON,

00:49:10.814 --> 00:49:14.384 align:start position:0%
BUT HE WASN'T INTERESTED ENOUGH
TO TAKE PERUGGIA'S FINGERPRINTS.

00:49:14.384 --> 00:49:17.854
SO THE FRENCH POLICE WERE
NEVER ABLE TO CONNECT THE DOTS.

00:49:17.854 --> 00:49:19.256
-THEY COULDN'T IMAGINE

00:49:19.256 --> 00:49:22.492
THAT IT COULD HAVE BEEN STOLEN
BY A HUMBLE HOUSE PAINTER.

00:49:22.492 --> 00:49:24.494
THEY WERE LOOKING
FOR SOMEONE DIFFERENT

00:49:24.494 --> 00:49:25.796
BECAUSE OF THEIR FANTASIES

00:49:25.796 --> 00:49:28.465
ABOUT THE KIND OF PERSON
THAT WOULD STEAL THE PAINTING.

00:49:28.465 --> 00:49:31.401
AND THAT GOT IN THE WAY
OF PROPER POLICE WORK.

00:49:31.401 --> 00:49:34.171
-THE POLICE WERE FOLLOWING
INVESTIGATIVE TECHNIQUES

00:49:34.171 --> 00:49:37.374
THAT CAN BE FOUND IN A HANDBOOK
THAT WAS POPULAR AT THE TIME.

00:49:37.374 --> 00:49:40.177
IT SAYS THERE WERE
TWO KINDS OF CRIMINALS --

00:49:40.177 --> 00:49:43.480
UPPER-CLASS, WHO PLAN
THEIR CRIMES AND ARE NONVIOLENT,

00:49:43.480 --> 00:49:47.951
AND LOWER-CLASS, WHO USE WEAPONS
AND ARE VIOLENT AND BRUTAL.

00:49:47.951 --> 00:49:49.920 line:0%
THE CHIEF OF THE SURETé

00:49:49.920 --> 00:49:53.890 line:0%
CALLED THESE LOWER-CLASS
CRIMINALS "CRAPULEUX."

00:49:53.890 --> 00:49:55.692
POLICE BELIEVED
THE "MONA LISA" WAS STOLEN

00:49:55.692 --> 00:49:57.494
BY AN UPPER-CLASS CRIMINAL.

00:49:57.494 --> 00:50:00.764
IT COULDN'T HAVE BEEN PERUGGIA.
HE WAS CRAPULEUX.

00:50:06.570 --> 00:50:08.839
EVEN TODAY,
THERE ARE PEOPLE WHO THINK

00:50:08.839 --> 00:50:11.975 align:start size:94% position:6%
PERUGGIA COULDN'T HAVE BEEN
THE BRAINS BEHIND THE CRIME.

00:50:11.975 --> 00:50:14.978
THAT'S WHY YOU'LL SEE
THIS NAME POPPING UP

00:50:14.978 --> 00:50:18.949
AS THE MAN THEY THINK WAS THE
TRUE MASTERMIND OF THE THEFT.

00:50:18.949 --> 00:50:21.752
HE WAS THE MARQUES DE VALFIERNO.

00:50:21.752 --> 00:50:26.456 line:0%
-THIS WAS A MAN WHO WAS SHROUDED
IN MYSTERY AND STILL IS,

00:50:26.456 --> 00:50:30.727 line:0%
BUT HE WAS
SUCH A DELICIOUS CON MAN.

00:50:30.727 --> 00:50:33.730
-THE STORY GOES THAT VALFIERNO

00:50:33.730 --> 00:50:36.199
HAD A FORGER MAKE SIX PERFECT
COPIES OF THE "MONA LISA"

00:50:36.199 --> 00:50:38.935
THAT HE SOLD
TO AMERICAN MILLIONAIRES

00:50:38.935 --> 00:50:41.938
WHO THOUGHT
THEY WERE BUYING THE ORIGINAL.

00:50:41.938 --> 00:50:46.343
PERUGGIA? HE WAS JUST A PATSY
HIRED TO COMMIT THE THEFT.

00:50:46.343 --> 00:50:48.145
-AND ACCORDING TO VALFIERNO,

00:50:48.145 --> 00:50:51.048
THE ONLY PURPOSE
IN STEALING THE "MONA LISA"

00:50:51.048 --> 00:50:53.250 line:0%
WAS IN CREATING
INTERNATIONAL HEADLINES,

00:50:53.250 --> 00:50:54.384 line:0%
WHICH HE DID.

00:50:54.384 --> 00:50:57.621 line:0%
-THE ORIGIN OF THE STORY
WAS AN ARTICLE PUBLISHED

00:50:57.621 --> 00:51:01.124 line:0%
20 YEARS AFTER THE THEFT
IN THE SATURDAY EVENING POST.

00:51:01.124 --> 00:51:05.162 line:0%
IT WAS WRITTEN BY AN AMERICAN
JOURNALIST NAMED KARL DECKER.

00:51:05.162 --> 00:51:07.831 line:0%
DECKER GOT HIS TRAINING
AS A NEWSPAPER MAN

00:51:07.831 --> 00:51:10.167 line:0%
UNDER WILLIAM RANDOLPH HEARST.

00:51:10.167 --> 00:51:12.402 line:0%
-HEARST JOURNALISM
WAS VERY SENSATIONAL.

00:51:12.402 --> 00:51:14.905 line:0%
IT WAS JOURNALISM
WHERE YOU COULDN'T TELL

00:51:14.905 --> 00:51:17.441 line:0%
WHERE FACT LEFT OFF
AND FICTION BEGAN.

00:51:17.441 --> 00:51:20.210
-WE SPENT MONTHS
RESEARCHING DECKER

00:51:20.210 --> 00:51:24.014
TO SEE IF HIS VALFIERNO ARTICLE
WAS FACT OR FICTION.

00:51:24.014 --> 00:51:29.019
AND WHAT I FOUND IS WHERE DECKER
MAY HAVE GOTTEN HIS STORY.

00:51:29.019 --> 00:51:30.420
I THINK HE LIFTED IT

00:51:30.420 --> 00:51:33.390
FROM ACCOUNTS OF OTHER CRIMINALS
OF THE DAY,

00:51:33.390 --> 00:51:38.128
LIKE A CON MAN WHO SOLD BOGUS
ART TO AMERICAN MILLIONAIRES

00:51:38.128 --> 00:51:40.330
AND A BIG-TIME CROOK
WHO IS SUSPECTED

00:51:40.330 --> 00:51:43.033
OF TRYING TO SELL A FORGERY
OF THE "MONA LISA."

00:51:43.033 --> 00:51:44.868
SOUND FAMILIAR?

00:51:44.868 --> 00:51:46.369
AND DECKER DIDN'T EVEN BOTHER

00:51:46.369 --> 00:51:48.972
TO CHECK THE FACTS
HE USED ABOUT THE MASTERPIECE.

00:51:48.972 --> 00:51:52.776
HE SAID THE PAINTING IN ITS
FRAME WEIGHED NEARLY 220 POUNDS.

00:52:04.521 --> 00:52:07.557
AND WHAT ABOUT
THOSE SIX FORGERIES?

00:52:07.557 --> 00:52:09.793
-THAT'S ONE OF THE MANY REASONS
FOR NOT BELIEVING THE STORY.

00:52:09.793 --> 00:52:12.496 align:start size:94% position:6%
IT'S ALMOST 100 YEARS LATER.
WHERE ARE THESE SIX COPIES?

00:52:12.496 --> 00:52:14.965
-I ASKED A PROFESSOR
WHO STUDIED DECKER

00:52:14.965 --> 00:52:17.467
IF WE CAN BELIEVE THIS STORY.

00:52:17.467 --> 00:52:20.637
-JOURNALISTS OFTEN SAY,
"DOES IT PASS THE SNIFF TEST?

00:52:20.637 --> 00:52:22.372
DOES IT PASS THE SMELL TEST?"

00:52:22.372 --> 00:52:25.642
IT'S AN ENTERTAINING STORY,
FOR SURE.

00:52:25.642 --> 00:52:29.779
IT'S A DETAILED STORY,
BUT IN THE END, IS IT PLAUSIBLE?

00:52:29.779 --> 00:52:31.848
IS IT LIKELY?

00:52:31.848 --> 00:52:34.084
I DON'T THINK SO.

00:52:34.084 --> 00:52:35.218
-I AGREE.

00:52:35.218 --> 00:52:36.653
THE FACTS SHOW THAT PERUGGIA

00:52:36.653 --> 00:52:38.655
WAS THE TRUE MASTERMIND
OF THE CRIME.

00:52:38.655 --> 00:52:40.557
AND VALFIERNO?

00:52:40.557 --> 00:52:43.560
I THINK KARL DECKER
SIMPLY MADE HIM UP.

00:52:50.200 --> 00:52:52.903
-"I KEPT ON WORKING,
NOT THINKING ABOUT

00:52:52.903 --> 00:52:56.773
GOING BACK TO ITALY ANY TIME
SOON AND HAND OVER THE PAINTING

00:52:56.773 --> 00:52:59.509
BECAUSE I WANTED TO
LET SOME TIME GO BY

00:52:59.509 --> 00:53:02.245
AND HAVE THE MEMORY
OF THE THEFT FADE."

00:53:02.245 --> 00:53:06.683
-SO PERUGGIA LET TWO YEARS,
THREE MONTHS, AND 17 DAYS GO BY.

00:53:06.683 --> 00:53:08.985
-NOBODY SAID TO HIM,
"YOU'RE GONNA TAKE THIS

00:53:08.985 --> 00:53:11.988
AND HIDE IT UNDER YOUR MATTRESS
AND SIT ON IT FOR TWO YEARS."

00:53:11.988 --> 00:53:13.857
HE DID THIS DAY BY DAY.

00:53:13.857 --> 00:53:15.926
-IN MY EXPERIENCE,
IT'S EXACTLY WHAT HAPPENS.

00:53:15.926 --> 00:53:17.594 align:start size:78% position:22%
-THEN CHARLIE HILL
TOLD ME THE STORY

00:53:17.594 --> 00:53:19.663
OF MASTER THIEF ADAM WORTH,

00:53:19.663 --> 00:53:22.299
WHO STOLE GAINSBOROUGH'S
"THE DUCHESS OF DEVONSHIRE"

00:53:22.299 --> 00:53:24.134
IN 1876.

00:53:24.134 --> 00:53:28.238
-AND HE CARRIED IT AROUND
IN A SUITCASE FOR 25 YEARS.

00:53:28.238 --> 00:53:29.973
-SO IN THE SCHEME OF THINGS,

00:53:29.973 --> 00:53:33.143
PERUGGIA DIDN'T HAVE
THE "MONA LISA" ALL THAT LONG.

00:53:33.143 --> 00:53:36.079
-WHAT THE HELL WAS HE DOING
IN THOSE TWO YEARS?

00:53:36.079 --> 00:53:38.448 line:0%
DID HE EVER TAKE IT OUT
TO LOOK AT IT AND ADMIRE IT?

00:53:38.448 --> 00:53:40.984 line:0%
OR DID HE EVER SHOW IT?
WELL, HE COULDN'T HAVE SHOWN IT.

00:53:40.984 --> 00:53:43.620 line:0%
-TURNS OUT HE DID.

00:53:43.620 --> 00:53:46.756 line:0%
-"I SHOWED THE PAINTING
TO LANCELLOTTI ONLY."

00:53:46.756 --> 00:53:48.158 line:0%
-HE SHOWED THE PAINTING
TO LANCELLOTTI ONLY?

00:53:48.158 --> 00:53:49.559 line:0%
-LANCELLOTTI.
-IS THAT WHAT HE SAID?

00:53:49.559 --> 00:53:50.493
-YEAH.

00:53:51.695 --> 00:53:54.798
-VINCENZO LANCELLOTTI
WAS AN IMMIGRANT HOUSE PAINTER

00:53:54.798 --> 00:53:58.001
FROM THE SAME REGION
OF ITALY AS PERUGGIA.

00:54:14.618 --> 00:54:17.053
PERUGGIA COUNTED ON
LANCELLOTTI SO MUCH

00:54:17.053 --> 00:54:19.155
HE CLAIMED
THAT HE LET HIS FRIEND

00:54:19.155 --> 00:54:21.324
KEEP THE "MONA LISA"
FOR SIX WEEKS

00:54:21.324 --> 00:54:24.361
AS HE BUILT A CUSTOM CRATE
TO HOLD HIS TREASURE.

00:54:31.434 --> 00:54:33.703
MY SON, JUSTIN, AND I
BUILT A CRATE

00:54:33.703 --> 00:54:35.972
THAT MATCHED THE DESCRIPTION
OF THE ONE PERUGGIA BUILT.

00:54:37.741 --> 00:54:39.743
IT WAS A LOT BIGGER
THAN I THOUGHT IT WOULD BE.

00:54:39.743 --> 00:54:42.312
[ Straining ] I CAN'T LIFT THAT.

00:54:42.312 --> 00:54:45.282
A CRATE THIS BIG
IN A ROOM AS SMALL AS HIS?

00:54:45.282 --> 00:54:47.684
IT'S NO SURPRISE
THAT SOMEBODY SAW IT,

00:54:47.684 --> 00:54:50.720
NAMELY PERUGGIA'S GIRLFRIEND.

00:54:50.720 --> 00:54:53.423 line:0%
-"I HAD, AS A LOVER,

00:54:53.423 --> 00:54:55.859 line:0%
SOMEBODY WHOSE NAME
WAS MATHILDE."

00:54:55.859 --> 00:54:57.260
-AFTER HIS ARREST,

00:54:57.260 --> 00:55:00.563
FRENCH NEWSPAPERS REPORTED
HE FELL IN LOVE WITH MATHILDE

00:55:00.563 --> 00:55:02.832
BECAUSE SHE LOOKED LIKE
THE "MONA LISA."

00:55:02.832 --> 00:55:05.602
YEAH, IF THE "MONA LISA"
WAS A BLUE-EYED BLOND

00:55:05.602 --> 00:55:07.437
WHO WORE A HEADBAND,

00:55:07.437 --> 00:55:09.506
BECAUSE THAT'S WHAT MATHILDE
LOOKED LIKE.

00:55:09.506 --> 00:55:12.075
SHE WAS A GERMAN
FROM THE ALSACE REGION.

00:55:12.075 --> 00:55:14.644
-[ SINGING IN FRENCH ]

00:55:14.644 --> 00:55:19.582
-SHE DECLARED
TO HAVE GONE A DOZEN OF TIMES

00:55:19.582 --> 00:55:23.119
IN THE ROOM OF
THE RUE DE L'HOPITAL ST. LOUIS.

00:55:23.119 --> 00:55:25.221
SO SHE VISITED HIM.

00:55:25.221 --> 00:55:28.158
-AND ON ONE OF THOSE VISITS,
SHE SAW THE CRATE.

00:55:28.158 --> 00:55:31.494
-"I NOTICED A CRATE
IN WHITE WOOD,

00:55:31.494 --> 00:55:33.396
AND I TOLD HIM"...

00:55:33.396 --> 00:55:35.365
[ LAUGHS ]

00:55:36.766 --> 00:55:40.704
..."THAT ONCE MARRIED,
I DID INTEND TO KEEP IT."

00:55:42.172 --> 00:55:44.040
-WELL, THERE WAS NO MARRIAGE.

00:55:44.040 --> 00:55:45.875
IN FACT, MATHILDE DUMPED HIM

00:55:45.875 --> 00:55:49.179
AFTER FINDING LETTERS
FROM OTHER WOMEN IN HIS ROOM.

00:55:49.179 --> 00:55:52.849
EVENTUALLY,
SHE LEFT PARIS FOR GOOD.

00:55:52.849 --> 00:55:55.485
[ SINGING CONTINUES ]

00:55:55.485 --> 00:55:57.620
[ TRAIN WHISTLE BLOWS ]

00:56:01.558 --> 00:56:03.993
THIS IS CADERO, ITALY.

00:56:03.993 --> 00:56:06.096
EVEN THOUGH
IT'S JUST A FEW MILES

00:56:06.096 --> 00:56:08.331
FROM PERUGGIA'S HOMETOWN
OF DUMENZA,

00:56:08.331 --> 00:56:12.635
THEY HAVE A WHOLE DIFFERENT TAKE
ON THE THEFT OF THE "MONA LISA."

00:56:35.859 --> 00:56:37.227
-GRAZIE, SIGNORA.

00:56:37.227 --> 00:56:39.062
-YEP, THE FOLKS IN CADERO

00:56:39.062 --> 00:56:42.198
GIVE PERUGGIA'S CLOSE FRIEND
VINCENZO LANCELLOTTI

00:56:42.198 --> 00:56:44.434
CREDIT FOR THE CRIME.

00:56:46.569 --> 00:56:48.638
GRAZIANO BALLINARI

00:56:48.638 --> 00:56:51.374
IS A RESTAURANT OWNER
AND LOCAL HISTORIAN.

00:56:51.374 --> 00:56:53.810 align:start size:78% position:22%
HE'S AS PASSIONATE
ABOUT LANCELLOTTI

00:56:53.810 --> 00:56:56.146
AS HE IS ABOUT HIS MEAT SAUCE.

00:57:10.960 --> 00:57:13.630
BALLINARI CLAIMS
THAT PERUGGIA WAS HIRED

00:57:13.630 --> 00:57:16.666
BY THE LANCELLOTTI FAMILY
TO BE THE FALL GUY.

00:57:28.845 --> 00:57:32.115
AND BALLINARI
IS NO FAN OF CELESTINA.

00:57:37.320 --> 00:57:38.655
-NO.

00:57:53.670 --> 00:57:56.973
-BALLINARI HAS BEEN
PROMOTING HIS VERSION FOR YEARS.

00:58:07.116 --> 00:58:10.053
I THOUGHT BALLINARI'S STORY
WAS ABOUT AS STRANGE

00:58:10.053 --> 00:58:11.921
AS THE COLLECTION
OF ANTIQUE UNDERWEAR

00:58:11.921 --> 00:58:13.590
IN THE BATHROOM
OF HIS RESTAURANT.

00:58:13.590 --> 00:58:15.658
THEY LOOK WASHED.

00:58:15.658 --> 00:58:17.026
[ BELL TOLLS ]

00:58:17.026 --> 00:58:19.362
THEN I MET MARCO MONACO.

00:58:19.362 --> 00:58:22.432 align:start size:94% position:6%
HE'S A LANCELLOTTI RELATIVE,
AND HE TOOK US TO THE PLACE

00:58:22.432 --> 00:58:25.101
WHERE LANCELLOTTI
SUPPOSEDLY HID THE "MONA LISA"

00:58:25.101 --> 00:58:27.170
AFTER HE STOLE IT.

00:58:46.756 --> 00:58:48.958
WHAT? ANOTHER TABLE?

00:58:48.958 --> 00:58:52.228
MARCO TOOK US TO SEE IT.

00:58:52.228 --> 00:58:53.796
-[ SPEAKS ITALIAN ]

00:58:53.796 --> 00:58:55.899
-THE TOP
DOESN'T LOOK 100 YEARS OLD,

00:58:55.899 --> 00:58:58.034
BUT UNDERNEATH,
IT SHOWS ITS AGE.

00:58:59.669 --> 00:59:00.970
THEN HE DEMONSTRATED

00:59:00.970 --> 00:59:04.173
HOW THE "MONA LISA" WAS PLACED
WITH CARDBOARD AROUND IT

00:59:04.173 --> 00:59:06.943
TO MAKE A FLAT SURFACE.

00:59:06.943 --> 00:59:08.378
AND THEY KEPT IT ON A TABLE.

00:59:08.378 --> 00:59:11.581
I TOLD THE LANCELLOTTI STORY
TO OUR FRIENDS AT THE LOUVRE.

00:59:14.817 --> 00:59:17.854
THE MUSEUM'S SENIOR SCIENTIST
GAVE ME AN IDEA.

00:59:17.854 --> 00:59:20.223
-YOU CAN TEST
WITH ANOTHER PAINTING.

00:59:20.223 --> 00:59:21.491
[ LAUGHS ]

00:59:21.491 --> 00:59:24.360
-SO I DID AT THANKSGIVING,

00:59:24.360 --> 00:59:26.996
AND I DIDN'T TELL
ANY OF MY GUESTS.

00:59:26.996 --> 00:59:29.432
[ INDISTINCT CONVERSATIONS ]

00:59:29.432 --> 00:59:32.135
AT THE END OF THE MEAL,
I REVEALED MY LITTLE EXPERIMENT.

00:59:32.135 --> 00:59:33.670
-ARE YOU KIDDING ME?

00:59:33.670 --> 00:59:35.505
-[ LAUGHS ]

00:59:35.505 --> 00:59:37.006
-LOOK AT THAT.
-NO DAMAGE.

00:59:37.006 --> 00:59:38.141
-AMAZING.
-BRAVO.

00:59:39.509 --> 00:59:42.011
-I LOVE THE IDEA
THAT THE "MONA LISA"

00:59:42.011 --> 00:59:46.015
WAS CONCEALED ON A TABLE
IN AN OSTERIA FOR TWO YEARS.

00:59:46.015 --> 00:59:47.984
I DON'T THINK IT HAPPENED.

00:59:47.984 --> 00:59:51.254
AND VINCENZO LANCELLOTTI
AS THE REAL THIEF?

00:59:51.254 --> 00:59:53.656
ALL THE EVIDENCE IS AGAINST IT.

00:59:55.291 --> 00:59:58.194
I TOLD GRAZIANO BALLINARI
THAT PERUGGIA'S FINGERPRINTS

00:59:58.194 --> 01:00:00.797
WERE FOUND ON THE GLASS
COVERING THE MONA LISA.

01:00:00.797 --> 01:00:02.098
-WHO SAYS THAT?

01:00:02.098 --> 01:00:04.434
-THEY'RE IN THE POLICE REPORTS.

01:00:04.434 --> 01:00:06.669
HE NEVER HEARD THAT BEFORE.

01:00:13.176 --> 01:00:15.311
-IF I WAS IN PERUGGIA'S PLACE,

01:00:15.311 --> 01:00:17.914
I WOULD HAVE AWAKENED
ONE MORNING AND SAY,

01:00:17.914 --> 01:00:19.916
"WHAT THE HELL AM I DOING
WITH THIS?

01:00:19.916 --> 01:00:21.184
I BETTER GIVE IT BACK."

01:00:22.885 --> 01:00:25.388
-ON DECEMBER 7, 1913,

01:00:25.388 --> 01:00:29.158
PERUGGIA HAD A FAREWELL DINNER
AT HIS FAVORITE CAFé.

01:00:29.158 --> 01:00:32.295
FEELING GENEROUS, HE GAVE
THE WAITRESS A 5-FRANC TIP.

01:00:32.295 --> 01:00:34.430
-HE'S GOT THIS PAINTING.

01:00:34.430 --> 01:00:36.933
HE KNOWS IF HE GETS CAUGHT
WITH IT, HE'S GONNA GO TO JAIL,

01:00:36.933 --> 01:00:38.501
IT'S GONNA BE A BAD TIME
FOR HIM,

01:00:38.501 --> 01:00:39.802
AND HE NEEDS TO GET RID OF IT.

01:00:39.802 --> 01:00:42.171
-HE LET HIS FRIENDS
AND RELATIVES KNOW

01:00:42.171 --> 01:00:44.874
THAT HE'D BE LEAVING FOR ITALY
THE NEXT DAY.

01:00:44.874 --> 01:00:51.147 line:0%
-"VINCENT TOLD US HE HAD
SOMETHING VERY IMPORTANT TO DO

01:00:51.147 --> 01:00:57.487
THAT WOULD BRING HIM FORTUNE,
GLORY, AND HONORS."

01:00:57.487 --> 01:00:59.255
[ HORSE WHINNIES ]

01:00:59.255 --> 01:01:01.924
-SO PERUGGIA WRAPPED
THE "MONA LISA" IN CLOTH,

01:01:01.924 --> 01:01:03.593
THEN PUT HER IN THE CRATE,

01:01:03.593 --> 01:01:05.261
COVERING HER
WITH A FALSE BOTTOM.

01:01:05.261 --> 01:01:09.032
THEN HE FILLED IT WITH CLOTHES,

01:01:09.032 --> 01:01:11.901
TOOLS, EVEN HIS MANDOLIN.

01:01:14.237 --> 01:01:16.572
[ TRAIN WHISTLE BLOWS ]

01:01:17.707 --> 01:01:19.842
-AT THE BORDER,
THE BOX WAS OPENED,

01:01:19.842 --> 01:01:23.746
BUT NO ONE SAW
THAT IT CONTAINED THE PAINTING.

01:01:48.271 --> 01:01:51.674 line:0%
-PERUGGIA CAME TO FLORENCE
TO MEET ALFREDO GERI,

01:01:51.674 --> 01:01:54.243 line:0%
A DEALER IN ANTIQUITIES.

01:01:54.243 --> 01:01:56.846 line:0%
-"I HAVE NEVER KNOWN MR. GERI.

01:01:56.846 --> 01:02:01.551 line:0%
I LEARNED ABOUT HIM BY READING
THE CORRIERE DELLA SERA."

01:02:01.551 --> 01:02:04.353 line:0%
-PERUGGIA READ
THIS ITALIAN PAPER IN PARIS.

01:02:04.353 --> 01:02:07.590 line:0%
HE SAW AN AD
FOR GERI'S FLORENCE GALLERY.

01:02:07.590 --> 01:02:10.059 line:0%
-"SO I WROTE HIM."

01:02:10.059 --> 01:02:12.762 line:0%
-I WANTED TO KNOW
WHAT PERUGGIA WROTE TO GERI,

01:02:12.762 --> 01:02:14.797 line:0%
SO I CAME HERE.

01:02:18.134 --> 01:02:21.771 line:0%
WE MET WITH ARCHIVE OFFICIAL
SALVATORE FAVUZZA.

01:02:21.771 --> 01:02:25.108 line:0%
HE BROUGHT US PERUGGIA'S FILE.

01:02:25.108 --> 01:02:27.477 align:start size:88% position:13%
-"EGREGIO SIGNOR GERI."
YEAH, THAT'S THE LETTER.

01:02:27.477 --> 01:02:29.178
-CAN YOU READ IT?
-OKAY.

01:02:39.288 --> 01:02:40.723
-WOW, RIGHT OFF THE BAT,

01:02:40.723 --> 01:02:43.259
HE'S TALKING ABOUT
SELLING THE "MONA LISA."

01:02:43.259 --> 01:02:46.863
THEN ON THE NEXT PAGE,
HE UNFURLS THE ITALIAN FLAG.

01:02:53.402 --> 01:02:57.273
HE SIGNS THE LETTER
"MONSIEUR LEONARD V.,"

01:02:57.273 --> 01:02:59.442
AS IN LEONARDO DA VINCI.

01:03:01.844 --> 01:03:04.547
THE DAY PERUGGIA ARRIVED
IN FLORENCE,

01:03:04.547 --> 01:03:08.651
HE WENT TO GERI'S SHOP
ON VIA BORGO OGNISSANTI.

01:03:24.700 --> 01:03:27.470
GERI MAY BE FORGOTTEN
IN HIS OLD PLACE,

01:03:27.470 --> 01:03:30.106
BUT I FOUND
THE 1914 MAGAZINE ARTICLE

01:03:30.106 --> 01:03:33.843
THAT HE WROTE ABOUT HIS FIRST
MEETING THERE WITH PERUGGIA.

01:03:33.843 --> 01:03:36.712
-"AT 6:00 PRECISELY,
LEONARD CAME.

01:03:36.712 --> 01:03:39.482 line:0%
I SAID TO HIM,
'DID YOU BRING THE 'GIOCONDA'?'"

01:03:39.482 --> 01:03:41.484 line:0%
-"YES, I HAVE IT,
BUT IT'S IN MY HOTEL."

01:03:41.484 --> 01:03:44.687 line:0%
-"BUT IS IT THE REAL 'GIOCONDA'?
YOU'RE NOT FOOLING ME?"

01:03:44.687 --> 01:03:47.924 line:0%
-"I'M JUST GONNA TELL YOU
THAT IT IS AUTHENTIC."

01:03:47.924 --> 01:03:49.325
-"HOW MUCH ARE YOU ASKING?

01:03:49.325 --> 01:03:50.626
-500,000.

01:03:50.626 --> 01:03:53.529
-"I FINISH HIS SENTENCE,
AND I SAY, '500,000 LIRE?'"

01:03:53.529 --> 01:03:54.997
-"YES."

01:03:54.997 --> 01:04:00.503
-IN 1913,
500,000 LIRE EQUALED $100,000,

01:04:00.503 --> 01:04:05.074
OR ABOUT $2,970,000 TODAY.

01:04:05.074 --> 01:04:07.376
-BACK THEN,
YOU MIGHT HAVE CALLED THAT,

01:04:07.376 --> 01:04:08.644
YOU KNOW, PATRIOTISM.

01:04:08.644 --> 01:04:10.513
BUT TODAY, WE CALL IT RANSOM.

01:04:10.513 --> 01:04:13.149
-BY THE END OF THE MEETING,
THEY HAD A DEAL.

01:04:13.149 --> 01:04:16.352
PERUGGIA AGREED TO SHOW GERI
THE PAINTING THE NEXT DAY.

01:04:16.352 --> 01:04:19.088
THEN PERUGGIA
RETURNED TO HIS HOTEL

01:04:19.088 --> 01:04:22.291
TO SPEND A LAST NIGHT
WITH THE "MONA LISA."

01:04:27.530 --> 01:04:31.000
IN 1913,
THE HOTEL WHERE PERUGGIA STAYED

01:04:31.000 --> 01:04:34.303 line:0%
WAS CALLED
THE ALBERGO TRIPOLI-ITALIA.

01:04:34.303 --> 01:04:36.639
IT WAS RENAMED
THE HOTEL LA GIOCONDA

01:04:36.639 --> 01:04:38.541
SHORTLY AFTER
THE NEWSPAPERS REVEALED

01:04:38.541 --> 01:04:41.744
THAT PERUGGIA HAD SLEPT THERE
WITH THE PAINTING.

01:04:41.744 --> 01:04:45.414
THE OWNER KNEW A LITTLE BIT
ABOUT MARKETING.

01:04:53.789 --> 01:04:54.857
-VENTI.

01:04:54.857 --> 01:04:56.192
-VENTI.

01:04:56.192 --> 01:04:59.528
A PLAQUE ON THE DOOR SAID
PERUGGIA STAYED IN THIS ROOM.

01:04:59.528 --> 01:05:01.430 line:0%
PERUGGIA'S SPELLED WRONG.

01:05:04.634 --> 01:05:05.635 line:0%
-[ LAUGHS ]

01:05:32.895 --> 01:05:34.931
[ LAUGHS ]

01:05:34.931 --> 01:05:36.299
AH.

01:05:38.267 --> 01:05:41.904
-THE NEXT AFTERNOON, PERUGGIA
RETURNED TO GERI'S GALLERY.

01:05:41.904 --> 01:05:44.774
GIOVANNI POGGI,
THE DIRECTOR OF THE UFFIZI,

01:05:44.774 --> 01:05:47.310
FLORENCE'S BIGGEST MUSEUM,
WAS THERE.

01:05:54.417 --> 01:05:59.288
PERUGGIA ESCORTED GERI AND POGGI
TO HIS HOTEL ROOM.

01:06:02.892 --> 01:06:05.828
-THEN THEY THREW ONTO THE FLOOR
ALL THE JUNK,

01:06:05.828 --> 01:06:09.932
AND DOWN UNDER THE FALSE BOTTOM
WAS THE "MONA LISA."

01:06:17.807 --> 01:06:20.543
-POGGI SAID
HE WANTED TO TAKE THE PAINTING

01:06:20.543 --> 01:06:23.813
BACK TO THE UFFIZI
FOR A CLOSER EXAMINATION.

01:06:24.981 --> 01:06:26.182
-THEY EXAMINE IT.

01:06:26.182 --> 01:06:28.084
THERE WERE A COUPLE
OF OTHER EXPERTS THERE.

01:06:28.084 --> 01:06:30.987
AND THEY ALL AGREED,
"THERE'S NO DOUBT ABOUT IT.

01:06:30.987 --> 01:06:33.889
THIS IS THE STOLEN 'MONA LISA.'"

01:06:33.889 --> 01:06:36.726 line:0%
BANG. PERUGGIA'S UNDER ARREST
AND IN SHOCK.

01:06:44.166 --> 01:06:46.802 line:0%
-PERUGGIA WAS MOVED
FROM HIS HOTEL

01:06:46.802 --> 01:06:50.373 line:0%
TO HIS NEW CORRIDORS --
MURATE PRISON.

01:06:50.373 --> 01:06:53.209
NOW MURATE'S OLD CELLS
ARE BEING CONVERTED

01:06:53.209 --> 01:06:55.945
INTO SHOPS, RESTAURANTS,
AND APARTMENTS.

01:06:55.945 --> 01:06:59.715
BUT BACK THEN, PEOPLE DIDN'T
GO THERE TO ENJOY THEMSELVES.

01:07:17.533 --> 01:07:19.769
[ BELLS RINGING ]

01:07:21.570 --> 01:07:23.706
AS PERUGGIA SAT IN PRISON,

01:07:23.706 --> 01:07:27.877
THE ITALIAN PEOPLE CELEBRATED
"MONA LISA"'s RETURN.

01:07:27.877 --> 01:07:31.947
FOR THE FIRST TIME IN 400 YEARS,
SHE WAS BACK IN FLORENCE.

01:07:31.947 --> 01:07:33.082
-I'M NOT INCLINED

01:07:33.082 --> 01:07:35.618
TO GLORIFY PEOPLE
WHO STEAL THE "MONA LISA,"

01:07:35.618 --> 01:07:39.388
BUT PERUGGIA DID END UP
AS A HERO TO MANY ITALIANS.

01:07:39.388 --> 01:07:42.391
-AND IT WAS "MONA LISA" FEVER.

01:07:42.391 --> 01:07:45.528 line:0%
PEDDLERS WERE SELLING ALL SORTS
OF "MONA LISA" NICKNACKS

01:07:45.528 --> 01:07:46.695 line:0%
BY THE BOX LOAD.

01:07:46.695 --> 01:07:48.731
AND THERE WERE "MONA LISA"
ADVERTISEMENTS.

01:07:48.731 --> 01:07:51.600
THERE WERE "MONA LISA" HAIRDOS.
THERE WAS "MONA LISA" CLOTHING.

01:07:51.600 --> 01:07:55.004
PEOPLE LEFT LOVE LETTERS
FOR THE "MONA LISA."

01:08:08.350 --> 01:08:12.655 align:start size:97% position:3%
-30,000 PEOPLE PASSED THROUGH
THE GALLERY IN JUST FOUR HOURS

01:08:12.655 --> 01:08:15.591
TO GLIMPSE HER
FOR JUST A FEW SECONDS.

01:08:15.591 --> 01:08:18.494
THE ONES WHO COULDN'T GET IN...

01:08:18.494 --> 01:08:19.528
RIOT.

01:08:19.528 --> 01:08:21.864
[ CROWD SHOUTING INDISTINCTLY ]

01:08:21.864 --> 01:08:26.001
AFTER HER WEEK IN FLORENCE,
THE "MONA LISA" TRAVELED TO ROME

01:08:26.001 --> 01:08:29.905
AND WAS OFFICIALLY HANDED OVER
TO THE FRENCH AMBASSADOR.

01:08:44.019 --> 01:08:45.254 line:0%
-NEVERTHELESS,

01:08:45.254 --> 01:08:47.923 line:0%
THE ITALIAN GOVERNMENT DID NOT,
FOR A SECOND,

01:08:47.923 --> 01:08:50.893 line:0%
THINK THEY COULD ACTUALLY
KEEP THE "MONA LISA."

01:08:50.893 --> 01:08:54.330 line:0%
-AS WE KNOW, "MONA LISA" WAS NOT
ACTUALLY STOLEN FROM ITALY

01:08:54.330 --> 01:08:56.832 line:0%
OR WAS NEVER PART
OF THE NAPOLEONIC LOOT.

01:08:56.832 --> 01:08:57.967 line:0%
-THAT'S RIGHT.

01:08:57.967 --> 01:09:00.436 line:0%
NAPOLEON DIDN'T STEAL
THE "MONA LISA."

01:09:00.436 --> 01:09:02.705 align:start size:78% position:22% line:0%
-THE "MONA LISA,"
VERY LEGITIMATELY,

01:09:02.705 --> 01:09:05.107 line:0%
BELONGED IN FRANCE.

01:09:05.107 --> 01:09:08.310
IT HAD BEEN BOUGHT BY FRANCOIS I
FROM LEONARDO.

01:09:09.478 --> 01:09:12.515
-FOLLOWING
A TRIUMPHANT EXHIBITION IN ROME,

01:09:12.515 --> 01:09:16.652
THE "MONA LISA" WAS WHISKED AWAY
FOR A QUICK SHOWING IN MILAN.

01:09:16.652 --> 01:09:19.889
ON DECEMBER 31, 1913,

01:09:19.889 --> 01:09:22.358
THE WORLD'S
MOST BELOVED MASTERPIECE

01:09:22.358 --> 01:09:24.860
RETURNED TO HER PARISIAN HOME.

01:09:26.228 --> 01:09:28.597
-THE "MONA LISA" WAS VERY FAMOUS
WHEN IT WAS TAKEN,

01:09:28.597 --> 01:09:30.866
BUT IT WAS EVEN MORE FAMOUS
WHEN IT WAS PUT BACK.

01:09:42.912 --> 01:09:46.615
-UNBELIEVABLY, THE FRAGILE
"MONA LISA" WAS UNDAMAGED,

01:09:46.615 --> 01:09:49.218
EXCEPT FOR AN ABRASION
ON HER CHEEK

01:09:49.218 --> 01:09:51.453
AND A SCRATCH
ON HER LEFT SHOULDER.

01:09:51.453 --> 01:09:56.358
COULD THIS MAN FIND THOSE MARKS
IN THE PAINTING?

01:09:56.358 --> 01:09:58.827 line:0%
PASCAL COTTE
IS AN OPTICAL ENGINEER

01:09:58.827 --> 01:10:01.263 line:0%
AND FOUNDER
OF LUMIERE TECHNOLOGY.

01:10:01.263 --> 01:10:03.365
IN 2004,

01:10:03.365 --> 01:10:06.702
HE MADE SUPER-HIGH-RESOLUTION
SCANS OF THE "MONA LISA."

01:10:12.841 --> 01:10:14.743
AND THE ABRASION ON THE CHEEK?

01:10:29.558 --> 01:10:34.029 align:start size:97% position:3%
-GREAT WORKS OF ART HAVE A WAY
OF CASTING A SPELL ON PEOPLE.

01:10:34.029 --> 01:10:38.400
AND, OBVIOUSLY, THIS WORK OF ART
CAST A SPELL ON THIS MAN.

01:10:50.813 --> 01:10:56.452
-VINCENZO PERUGGIA'S TRIAL BEGAN
IN FLORENCE ON JUNE 4, 1914.

01:11:05.527 --> 01:11:06.795
THE PROSECUTION THOUGHT

01:11:06.795 --> 01:11:09.398
THEY HAD AN OPEN-AND-SHUT CASE
AGAINST PERUGGIA.

01:11:09.398 --> 01:11:11.767
-THEY WERE SIMPLY TRYING TO
ARGUE THAT HE WAS RATIONAL,

01:11:11.767 --> 01:11:13.402 line:0%
HE WAS IN HIS RIGHT MIND,

01:11:13.402 --> 01:11:15.838 align:start size:78% position:22% line:0%
HE JUST WANTED TO
STEAL THE PAINTING

01:11:15.838 --> 01:11:19.408 line:0%
AND SELL IT AND MAKE MONEY,
AND THEREFORE, HE'S GUILTY.

01:11:19.408 --> 01:11:24.346 line:0%
-"THE ONLY THING I HAD IN MIND
WAS TO GIVE A GIFT TO ITALY,

01:11:24.346 --> 01:11:26.348 line:0%
AND I DIDN'T INTEND
TO MAKE ANY MONEY WITH IT."

01:11:26.348 --> 01:11:28.484
-BUT THE ANTIQUE DEALER GERI

01:11:28.484 --> 01:11:31.754
TESTIFIED THAT PERUGGIA
WANTED 500,000 LIRE.

01:11:31.754 --> 01:11:33.789
AND THEN THE PROSECUTOR
BROUGHT UP

01:11:33.789 --> 01:11:37.926
PERUGGIA'S TRIP TO LONDON
THE PREVIOUS SUMMER.

01:11:37.926 --> 01:11:39.361
PERUGGIA ADMITTED
THAT WHILE THERE,

01:11:39.361 --> 01:11:43.632
HE WENT TO SEE THE ART DEALER
HENRY J. DUVEEN.

01:11:43.632 --> 01:11:47.803
I FOUND THIS 1935 BOOK
WRITTEN BY A DUVEEN NEPHEW.

01:11:47.803 --> 01:11:51.607
HE SAID THAT HIS UNCLE HENRY
MET A SEEDY-LOOKING FOREIGNER

01:11:51.607 --> 01:11:53.909
WHO WAS TRYING TO
SELL HIM THE "MONA LISA."

01:11:53.909 --> 01:11:55.010 line:0%
-"WHO? ME?

01:11:55.010 --> 01:11:57.613 line:0%
TO OFFER 'LA GIOCONDA'
TO THE ENGLISH?

01:11:57.613 --> 01:11:58.647 line:0%
WHO SAYS THIS?

01:11:58.647 --> 01:12:00.916 line:0%
IT'S FAKE. IT'S FALSE.
IT'S A LIE."

01:12:00.916 --> 01:12:03.218
-WHEN IT WAS TIME
FOR THE DEFENSE,

01:12:03.218 --> 01:12:06.555 align:start size:91% position:9%
PERUGGIA'S LAWYERS PLAYED
THE ONLY CARD THEY HELD --

01:12:06.555 --> 01:12:10.459 align:start size:84% position:16%
DR. AMALDI'S DIAGNOSIS
OF MENTAL DEFICIENCY.

01:12:10.459 --> 01:12:12.061
-FROM AMALDI'S POINT OF VIEW,

01:12:12.061 --> 01:12:14.630
HE'S ONLY PARTIALLY RESPONSIBLE
FOR HIS CRIME.

01:12:14.630 --> 01:12:17.499
HE DIDN'T HAVE FULL CONTROL
OVER HIS ACTIONS.

01:12:17.499 --> 01:12:19.068
HE WAS VERY CHILDISH

01:12:19.068 --> 01:12:21.537
AND MISUNDERSTOOD
THE LEGAL CONSEQUENCES

01:12:21.537 --> 01:12:24.039
OF BRINGING THE PICTURE
BACK INTO ITALY,

01:12:24.039 --> 01:12:27.509
SHOWING THAT HE REALLY WASN'T
TOTALLY MENTALLY COMPETENT.

01:12:27.509 --> 01:12:29.778
-IN COURT,
THE PROSECUTOR DISAGREED

01:12:29.778 --> 01:12:32.014
WITH THE PSYCHIATRIST'S
CONCLUSION

01:12:32.014 --> 01:12:35.617 align:start size:94% position:6%
AND SAID PERUGGIA WAS FULLY
RESPONSIBLE FOR HIS ACTIONS.

01:12:35.617 --> 01:12:39.254 line:0%
-DOESN'T IT TAKE
SOME DEGREE OF INTELLIGENCE

01:12:39.254 --> 01:12:42.224 line:0%
TO DO WHAT HE DID,
TO PULL IT OFF?

01:12:42.224 --> 01:12:45.227
-SO WHY WOULD AMALDI SAY
PERUGGIA WAS MENTALLY DEFICIENT

01:12:45.227 --> 01:12:47.463 align:start size:81% position:19%
IF ALL THE EVIDENCE
WAS TO THE CONTRARY?

01:12:47.463 --> 01:12:51.033 align:start size:91% position:9%
-IF AMALDI WAS SYMPATHETIC
WITH HIS PATRIOTIC CAUSE,

01:12:51.033 --> 01:12:54.069
THIS MAY HAVE
AT LEAST UNCONSCIOUSLY HELPED

01:12:54.069 --> 01:12:55.537
TO FORM HIS OPINION.

01:12:55.537 --> 01:12:59.742
AND IT IS POSSIBLE
HE INFLATED THIS MENTAL WEAKNESS

01:12:59.742 --> 01:13:02.878
IN ORDER TO PROTECT PERUGGIA.

01:13:02.878 --> 01:13:06.482 line:0%
-ACCORDING TO AMALDI'S GRANDSON,
THAT'S EXACTLY WHAT HAPPENED.

01:13:17.326 --> 01:13:20.329
AMALDI WANTED PERUGGIA SET FREE.

01:13:20.329 --> 01:13:23.165
THE TRIBUNAL DISAGREED.

01:13:36.011 --> 01:13:38.580
-VINCENZO PERUGGIA
WAS LISTENING --

01:13:38.580 --> 01:13:39.882
THE VERDICT.

01:13:39.882 --> 01:13:42.117
HE SAYS TO THE COURT

01:13:42.117 --> 01:13:46.588
HE HAD BROUGHT THE SMILE
OF "LA GIOCONDA"

01:13:46.588 --> 01:13:51.860
AND SO BROUGHT THE SMILE
ON THE FACE OF ITALIAN PEOPLE.

01:13:58.534 --> 01:14:01.003
-I REALLY WANTED TO
RETURN TO CELESTINA

01:14:01.003 --> 01:14:04.006
WITH SOME PROOF THAT PATRIOTISM
WAS AT LEAST PART

01:14:04.006 --> 01:14:07.209
OF HER FATHER'S MOTIVE
FOR STEALING THE "MONA LISA."

01:14:07.209 --> 01:14:11.113
AND I HOPE TO FIND THAT PROOF
IN THE FLORENCE ARCHIVES.

01:14:11.113 --> 01:14:13.916
-[ SPEAKS ITALIAN ]

01:14:13.916 --> 01:14:15.617
-THESE ARE THE LETTERS
TO HIS FATHER.

01:14:15.617 --> 01:14:17.553
-OH, LETTERS TO HIS FATHER.
CAN WE SEE THEM?

01:14:17.553 --> 01:14:20.856
THE LETTERS HAD BEEN SEIZED FROM
HIS PARENTS' HOME IN DUMENZA

01:14:20.856 --> 01:14:22.257
SHORTLY AFTER HIS ARREST.

01:14:22.257 --> 01:14:25.561
-[ SPEAKS ITALIAN ]

01:14:33.535 --> 01:14:36.705
OKAY, SOME OF THE LETTERS
WEREN'T VERY HELPFUL,

01:14:36.705 --> 01:14:39.508
BUT IN THE ONES WRITTEN
AFTER THE THEFT,

01:14:39.508 --> 01:14:41.743
WE DISCOVERED AN IMPORTANT CLUE.

01:14:49.284 --> 01:14:50.853
HERE IN HIS OWN WORDS

01:14:50.853 --> 01:14:54.089
WAS THE SECRET
TO WHAT PERUGGIA WAS THINKING.

01:15:04.032 --> 01:15:06.034
-IL GIORNO VERRà.

01:15:06.034 --> 01:15:07.603
-"AND THE DAY WILL COME."

01:15:07.603 --> 01:15:09.037 line:0%
[ LAUGHS ]

01:15:09.037 --> 01:15:10.372 line:0%
-"THE DAY WILL COME."
-YEAH.

01:15:10.372 --> 01:15:13.609 line:0%
-IL GIORNO VERRà.

01:15:13.609 --> 01:15:16.011
-FINALLY, WE FOUND A POSTCARD
PERUGGIA WROTE

01:15:16.011 --> 01:15:17.946
TO A FRIEND IN DUMENZA

01:15:17.946 --> 01:15:21.617
JUST HOURS AFTER HE HANDED THE
"MONA LISA" OVER TO THE UFFIZI.

01:15:21.617 --> 01:15:24.253
HE'S ALREADY SPENT THE MONEY
HE THOUGHT HE WAS GETTING

01:15:24.253 --> 01:15:25.921
ON A DREAM VACATION.

01:15:39.468 --> 01:15:41.503
ARE YOU SURPRISED
ABOUT YOUR GRANDFATHER?

01:15:43.939 --> 01:15:45.340
SHOULD WE TELL YOUR MOTHER?

01:15:46.875 --> 01:15:48.710
-[ SIGHS ]

01:15:55.684 --> 01:15:58.120
-ALL HER LIFE,
CELESTINA PERUGGIA BELIEVED

01:15:58.120 --> 01:16:00.322
THAT HER FATHER
STOLE THE "MONA LISA"

01:16:00.322 --> 01:16:01.557
OUT OF PATRIOTISM

01:16:01.557 --> 01:16:04.960
AND BECAUSE HE DIDN'T LIKE
BEING CALLED "MACARONI."

01:16:04.960 --> 01:16:10.098 align:start position:0%
BUT NOW IT WAS TIME TO RETURN TO
DUMENZA AND TELL HER THE TRUTH.

01:16:10.098 --> 01:16:11.500
-[ SPEAKS ITALIAN ]

01:16:11.500 --> 01:16:14.269
-I WAS CONCERNED ABOUT
HOW SHE WOULD TAKE THE NEWS.

01:16:14.269 --> 01:16:16.838
AFTER ALL, SHE WAS 84
WITH A HEART CONDITION.

01:16:18.473 --> 01:16:20.409 line:0%
-OH, YOUR HEART HURTS?

01:16:20.409 --> 01:16:25.180
-TELL SIGNORA THAT WE SAW
HER FATHER'S APARTMENT IN PARIS.

01:16:25.180 --> 01:16:27.583
I TOLD HER WHAT WE LEARNED
ABOUT HER FATHER'S LIFE --

01:16:27.583 --> 01:16:30.252
HIS LEAD POISONING,
HIS WORK AT THE LOUVRE,

01:16:30.252 --> 01:16:34.590
AND I SHOWED HER SOME PICTURES
I THOUGHT SHE'D ENJOY...

01:16:34.590 --> 01:16:35.857
-AH!

01:16:35.857 --> 01:16:37.059
-...LIKE HIS ROOM IN PARIS...

01:16:39.161 --> 01:16:40.862
...SILVIO IN THE LOUVRE.

01:16:47.970 --> 01:16:50.906
BUT THEN WE CAME TO THE LETTERS.

01:17:26.508 --> 01:17:28.343
I DON'T KNOW.
DO WE WANT TO DO MORE?

01:17:28.343 --> 01:17:29.678 line:0%
-SI. SI.

01:17:33.215 --> 01:17:35.017
-AS SILVIO READ THE LETTERS,

01:17:35.017 --> 01:17:38.120
VINCENZO'S VEILED PROMISE OF A
FORTUNE POPPED UP IN EVERY ONE.

01:17:50.332 --> 01:17:52.267
I COULD SEE CELESTINA SINK

01:17:52.267 --> 01:17:55.270
UNDER THE WEIGHT
OF HER FATHER'S WORDS,

01:17:55.270 --> 01:17:58.340
AND I STARTED TO WONDER
IF I'D DONE THE WRONG THING.

01:18:32.641 --> 01:18:34.309
-SI. SI.

01:18:37.279 --> 01:18:40.449
-VINCENZO PERUGGIA
DIDN'T SERVE HIS FULL SENTENCE.

01:18:40.449 --> 01:18:42.350
HIS ATTORNEYS FILED AN APPEAL.

01:18:56.031 --> 01:18:57.232
-WOW.

01:18:57.232 --> 01:18:59.968
THEY SET HIM FREE.

01:18:59.968 --> 01:19:02.938 align:start size:81% position:19%
-BUT PERUGGIA DIDN'T
STAY FREE FOR LONG.

01:19:02.938 --> 01:19:06.608
WORLD WAR I BROKE OUT
A FEW DAYS AFTER HIS RELEASE.

01:19:06.608 --> 01:19:08.910
HE SERVED IN THE ITALIAN ARMY

01:19:08.910 --> 01:19:11.780
BUT WAS TAKEN PRISONER
BY THE AUSTRIANS

01:19:11.780 --> 01:19:15.183
AND HELD AS A P.O.W.
FOR TWO YEARS.

01:19:16.551 --> 01:19:20.555
AT THE END OF THE WAR,
THERE WAS NO WORK IN ITALY,

01:19:20.555 --> 01:19:22.557
SO HE RETURNED TO PARIS,

01:19:22.557 --> 01:19:25.794
THIS TIME
USING HIS ACTUAL GIVEN NAME.

01:19:37.639 --> 01:19:39.775
WITH HIM WAS HIS YOUNG WIFE.

01:19:39.775 --> 01:19:43.245
HE COULDN'T RESIST
TAKING HER TO THE LOUVRE.

01:20:06.902 --> 01:20:10.505
VINCENZO PERUGGIA LIVED
THE REST OF HIS LIFE IN PARIS,

01:20:10.505 --> 01:20:12.874
NEVER COMMITTING ANOTHER CRIME.

01:20:12.874 --> 01:20:18.513
HE WAS BURIED
IN A PARISIAN CEMETERY IN 1925.

01:20:18.513 --> 01:20:20.515
THIS WAS HIS GRAVE SITE,

01:20:20.515 --> 01:20:24.553
BUT AFTER 30 YEARS,
THE CEMETERY NEEDED THE PLOT,

01:20:24.553 --> 01:20:27.489
SO WHAT WAS LEFT OF HIS BODY
WAS MOVED...

01:20:27.489 --> 01:20:30.058
TO THE BONE LOCKER.

01:20:31.493 --> 01:20:34.462
THE CEMETERY ATTENDANT TOLD ME
I WAS THE ONLY PERSON

01:20:34.462 --> 01:20:38.800
TO EVER ASK HIM TO SEE THE GRAVE
OF VINCENZO PERUGGIA.

01:20:53.849 --> 01:20:56.318
YES,
VINCENZO PERUGGIA WAS A THIEF.

01:20:56.318 --> 01:20:58.987
WHAT HE DID WAS WRONG
AND HALF-WITTED.

01:20:58.987 --> 01:21:00.488
BUT TO ME, HE WAS A MAN

01:21:00.488 --> 01:21:03.525
WHO WAS TIRED OF A JOB
THAT WAS MAKING HIM SICK.

01:21:03.525 --> 01:21:06.294
HE HATED BEING LOOKED DOWN UPON
AS AN IMMIGRANT,

01:21:06.294 --> 01:21:08.163
AND HE MISSED HIS HOME.

01:21:08.163 --> 01:21:10.365
HE THOUGHT THAT RETURNING
THE "MONA LISA" TO ITALY

01:21:10.365 --> 01:21:12.434
WOULD MAKE HIS FAMILY
PROUD OF HIM

01:21:12.434 --> 01:21:15.804
AND BE A TICKET TO A BETTER LIFE
FOR THEM ALL.

01:21:15.804 --> 01:21:17.672
I THINK MANY PEOPLE CAN RELATE

01:21:17.672 --> 01:21:20.275
TO A YOUNG MAN'S WILD DREAMS
OF FORTUNE.

01:21:20.275 --> 01:21:21.943
I KNOW I COULD.

01:21:21.943 --> 01:21:25.013
IN A JOURNAL THAT I KEPT WHILE
I WAS WRITING MY SCREENPLAY,

01:21:25.013 --> 01:21:27.549
I FOUND AN ENTRY FROM 1979.

01:21:27.549 --> 01:21:29.618
I WAS AROUND THE SAME AGE
AS PERUGGIA

01:21:29.618 --> 01:21:31.219
WHEN HE STOLE THE "MONA LISA."

01:21:31.219 --> 01:21:35.156
IT SAYS, "IF I WRITE THIS SCRIPT
AND SELL IT, I WILL BE RICH.

01:21:35.156 --> 01:21:37.726
ALL I WANT TO DO
IS PAY OFF THE HOUSE

01:21:37.726 --> 01:21:40.662
AND FIX IT UP
AND HAVE SOME MONEY IN THE BANK

01:21:40.662 --> 01:21:43.298
AND SOME LEFTOVER
TO DO SOME TRAVELING."

01:21:43.298 --> 01:21:46.268
SO BACK THEN,
I WAS THINKING LIKE PERUGGIA.

01:21:46.268 --> 01:21:49.371
I WANTED TO MAKE MY FORTUNE
IN ONE SHOT, TOO.

01:21:49.371 --> 01:21:52.240
WE JUST WENT ABOUT IT
IN DIFFERENT WAYS.

01:21:58.446 --> 01:22:00.582
BEFORE I LEFT DUMENZA,

01:22:00.582 --> 01:22:03.251
THERE WAS ONE LAST THING
I HAD TO DO.

01:22:03.251 --> 01:22:05.120
I THOUGHT THAT IF THE TOWN

01:22:05.120 --> 01:22:07.956
COULD REMEMBER MUSSOLINI
AND FALLING TONI,

01:22:07.956 --> 01:22:10.358
WHY NOT ITS MOST INFAMOUS SON?

01:22:14.496 --> 01:22:16.865
ON OUR FIRST VISIT HERE,
WE WERE TOLD

01:22:16.865 --> 01:22:20.702
THERE COULDN'T BE A MEMORIAL
TO PERUGGIA ON PUBLIC PROPERTY,

01:22:20.702 --> 01:22:23.838
BUT WE COULD PUT ONE
ON PRIVATE PROPERTY,

01:22:23.838 --> 01:22:27.242
LIKE THE HOUSE WHERE
VINCENZO PERUGGIA WAS BORN.

01:22:27.242 --> 01:22:28.610
-CIAO.

01:22:28.610 --> 01:22:30.412
-CIAO.

01:22:30.412 --> 01:22:35.216
SO HERE I WAS FINALLY AT THE END
OF THIS UNIMAGINABLE JOURNEY.

01:22:35.216 --> 01:22:39.654
IT BEGAN WITH VINCENZO PERUGGIA
BEING JUST A NAME IN A BOOK,

01:22:39.654 --> 01:22:43.458
AND IT ENDED WITH ME
ACTUALLY HELPING HIS DAUGHTER

01:22:43.458 --> 01:22:46.161
UNDERSTAND THE FATHER
SHE NEVER KNEW.

01:22:48.763 --> 01:22:50.365
-BELLO.

01:22:50.365 --> 01:22:52.434
-AND BECAUSE OF ALL OF THAT,

01:22:52.434 --> 01:22:55.937
THE PERUGGIA FAMILY
BECAME LIKE MY FAMILY.

01:22:55.937 --> 01:22:57.072
BELLO. HEY.

01:22:57.072 --> 01:22:59.007 align:start size:56% position:44%
OH.
-OH.

01:23:15.957 --> 01:23:17.726
CAPITO. GRAZIE.

01:23:20.762 --> 01:23:25.266
SO THANKS TO CELESTINA,
I CAN FINALLY SAY SOMETHING

01:23:25.266 --> 01:23:28.570
I WAITED MORE THAN 30 YEARS
TO SAY.

01:23:29.637 --> 01:23:31.539
THE FILM IS DONE.

01:23:31.539 --> 01:23:33.074
-[ LAUGHS ]

01:24:03.638 --> 01:24:05.373 line:0%
-[ LAUGHS ]

01:24:05.373 --> 01:24:06.608 line:0%
NO! NO!

01:24:06.608 --> 01:24:07.609 line:0%
[ LAUGHS ]

01:24:07.609 --> 01:24:09.010 line:0%
NO! NO!

01:24:09.010 --> 01:24:10.745 line:0%
NO! NO!

01:24:10.745 --> 01:24:12.347 line:0%
-IT'S PASTA WITH RICOTTA OR...?

01:24:12.347 --> 01:24:13.715 line:0%
-RICOTTA AND ORTICA.

01:24:13.715 --> 01:24:16.351 line:0%
ORTICA IS A PLANT --
A POISONOUS PLANT.

01:24:16.351 --> 01:24:18.219 line:0%
-OH, POISON IVY.
-YEAH, POISON IVY, YES!

01:24:18.219 --> 01:24:21.056 align:start size:84% position:16% line:0%
-WE'RE HAVING RICOTTA
WRAPPED IN POISON IVY.

01:24:21.056 --> 01:24:22.457 line:0%
-[ LAUGHS ]

01:24:22.457 --> 01:24:25.060 line:0%
-I HAVE "GIOCONDA."

01:24:25.060 --> 01:24:30.031 line:0%
I COME BACK TO MY HOUSE
WITH "GIOCONDA."

01:24:30.031 --> 01:24:32.400 line:0%
-WHAT DID YOU SAY ABOUT HIM?
HE LOOKS LIKE A CRIMINAL HERE?

01:24:32.400 --> 01:24:34.602 line:0%
-YEAH, I THINK
HE LOOKS LIKE A CRIMINAL.

01:24:34.602 --> 01:24:36.271 line:0%
WHEN I WAS A KID, I REMEMBER

01:24:36.271 --> 01:24:38.640 line:0%
THAT WHENEVER I SEEN HIM
WITH THE HAT,

01:24:38.640 --> 01:24:41.543 line:0%
I'D SAY TO MY FATHER,
"WAS HE A BAD MAN?"

01:24:41.543 --> 01:24:43.545 line:0%
-SO, WHAT,
YOU DON'T TRUST GUYS WITH HATS?

01:24:43.545 --> 01:24:45.880 line:0%
-NO, I DON'T.

01:26:23.978 --> 01:26:28.978 position:97% line:0%

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Mona Lisa is Missing

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