映画『万能鑑定士Q -モナ・リザの瞳-』
Transcript
00:00:00you
00:00:30Oh
00:01:01Kajita, no, Kasita zero get Gautam de디たので次両使用してしまったのですがちょっと気になりまして
00:01:09どう言います
00:01:11全部無料のパーティー形式の試食会で妙に豪華なんですが
00:01:16道もマルチ商法の匂いがして
00:01:20プチのレストランで変な商売をされたら困るなと
00:01:23警察にいうことでもないし
00:01:25ではん車のホームページ見まして
00:01:28It says here that it's all-purpose.
00:01:33What do you think? Do you know what it is?
00:01:38Yes.
00:01:40There's something strange about this piece of paper.
00:01:44This is the place where this photo was taken.
00:01:47Where is it?
00:01:48Look. Here.
00:01:50Huh?
00:01:55This green marker pen is placed in the back of the photo.
00:01:59Zebra's Albezpil and this pen are only available in three colors, red, blue, and yellow.
00:02:04But the cap is green.
00:02:06In other words, this photo has been changed from yellow to green by the image editing software.
00:02:11By editing?
00:02:13In other words, this banana was originally yellow.
00:02:16But due to the plant trade law, bananas that are yellow are banned from import.
00:02:20It means that they had no choice but to edit the image because they couldn't get the green banana.
00:02:24Therefore, the photo of this food case itself is fabricated.
00:02:28There's something behind this.
00:02:30This is the result of the examination.
00:02:37Um...
00:02:38Yes?
00:02:41Can you examine this marker pen as well?
00:02:47Yes, I can.
00:02:55You can't do that!
00:03:01You have to look into the back of the case.
00:03:07I'm not good at that.
00:03:09You only care about the surface.
00:03:11Excuse me.
00:03:12I can't see the truth.
00:03:19Shimada!
00:03:20Yes?
00:03:22This is a fake banana from Ikebukuro.
00:03:25Can you do this for me?
00:03:27I can't do this.
00:03:29Yes.
00:03:32Senpai.
00:03:34I'm sorry.
00:03:36Don't say that!
00:03:40Forget it.
00:03:42Hey.
00:03:45Do you have a page in the gourmet section?
00:03:47What?
00:03:48If you can't write an article with this, you have to go to the monthly report.
00:03:51I don't know anything about the monthly report.
00:03:53What do you know?
00:03:58Anyway, write a good article and bring it to me.
00:04:12Okay.
00:04:43Excuse me.
00:04:44Yes?
00:04:45We don't accept photos.
00:04:47Is that so?
00:04:48Yes.
00:04:50We can't?
00:04:51I'm sorry.
00:04:58What's going on?
00:05:01First of all, the food you're going to eat
00:05:05has been popular in the Turkish family for a century.
00:05:11Please enjoy your meal.
00:05:16Is this a fake banana?
00:05:21I don't think so.
00:05:25But there's something wrong.
00:05:28Something wrong?
00:05:30Yes.
00:05:31I think there's something wrong.
00:05:35Why do you cut the banana before you fry it?
00:05:38Why don't you cut it first?
00:05:44I wanted to show off the fresh banana first.
00:05:48Then there's no point in frying it in oil.
00:05:51I see.
00:05:53You said earlier that the food was popular in the Turkish family for a century.
00:05:59Yes.
00:06:01Tomatoes are certainly a representative ingredient of Turkish cuisine now,
00:06:05but it's only been about 40 years since they began to be cultivated in Turkey.
00:06:26Why did you chop the tomatoes in that order?
00:06:30Because that timing was important.
00:06:36TURKEY
00:06:54Could this be...
00:07:00I knew it.
00:07:02What is it?
00:07:03Normally, people have the ability to hear multiple sounds at the same time.
00:07:10But if you add a high frequency sound to a low frequency sound,
00:07:14the inside of the ear is asymmetrical, so there is a high frequency in the hearing.
00:07:17The low frequencies are difficult to recognize.
00:07:20Well...
00:07:21Look.
00:07:22A phenomenon in which a certain sound erases another sound.
00:07:25Masking the hearing.
00:07:26In other words, masking the hearing.
00:07:29Masking?
00:07:31In the high-speed elevator in a super-high-rise building,
00:07:33you can hear the BGM of Easy Listening.
00:07:36That's to erase the sound of the elevator.
00:07:38The sound of the high-speed elevator makes people anxious, so they don't want to hear the sound.
00:07:43If you add a high frequency sound to a low frequency sound,
00:07:46you can erase the sound of the motor with a BGM that is barely audible.
00:07:49That's called masking.
00:07:51They control the sound.
00:07:53Look.
00:07:54Even if the sound is about 90 decibels to 50 decibels,
00:07:57if the sound pressure is appropriate, the sound can be erased.
00:08:01A small motor can be erased by that sound.
00:08:04For example, an electric screwdriver.
00:08:06A screwdriver?
00:08:07The sound of an electric screwdriver.
00:08:23That's the sound of an incinerator.
00:08:25The sound of an incinerator can be erased by that sound.
00:08:38That's the sound of an electric screwdriver.
00:08:40The sound of an electric screwdriver can be erased by that sound.
00:08:42The sound of an electric screwdriver can be erased by that sound.
00:08:44The sound of breaking a glass can also be erased by that sound.
00:08:58Could it be...
00:09:08What is this second floor?
00:09:10I'm sorry, but we're closed today.
00:09:12Closed?
00:09:13This is bad!
00:09:14Please call the police!
00:09:23Hey, call the police!
00:09:37I'm sorry.
00:09:48I'm sorry I'm late.
00:09:53Wait!
00:10:02It's okay. It's okay.
00:10:04It's nothing serious.
00:10:05I'm really okay.
00:10:07It's beautiful.
00:10:09You're the one who's beautiful.
00:10:11Are you sure you're okay?
00:10:13Yes, I'm fine.
00:10:14I'm sorry.
00:10:15Don't worry about it.
00:10:17Thank you.
00:10:20You're a reporter, right?
00:10:22How do you know that?
00:10:23Because you have a camera.
00:10:25Oh, a photo!
00:10:27I forgot to take a photo.
00:10:35Excuse me.
00:10:36Could you take a photo of me?
00:10:38Me?
00:10:39Yes.
00:10:41I refuse.
00:10:42Please.
00:10:43Let me interview you.
00:10:44What's your name?
00:10:45I refuse.
00:10:46No, no, no.
00:10:47I don't want to talk about the masking thing.
00:10:49Excuse me.
00:10:50Are you Riko Linda?
00:10:56Yes.
00:10:57Asahina-san from the gallery wants to thank you.
00:11:02You found the culprit, didn't you?
00:11:05Thank you very much.
00:11:07You're welcome.
00:11:10I heard that you gave this to the police.
00:11:14Because it's the most valuable thing.
00:11:16Yes.
00:11:17There were a lot of things scattered around.
00:11:20But this is a very valuable thing.
00:11:22So I thought it would be better to give it to you directly.
00:11:26Why is this valuable?
00:11:29What is this?
00:11:32This was made by Katsura Taro to identify the Russian emperor Nikolai II.
00:11:41If this had been stolen, it would have been a big deal.
00:11:45I thank you from the bottom of my heart.
00:11:47I'm glad I was able to see this.
00:11:53Then, excuse me.
00:11:55Thank you.
00:11:59Thank you.
00:12:05Thank you very much.
00:12:07You're welcome.
00:12:08Well, then.
00:12:09Thank you very much.
00:12:13Excuse me.
00:12:18Who is she?
00:12:22She is a detective.
00:12:24An all-purpose detective.
00:12:30An all-purpose detective.
00:12:34Kyu.
00:12:59Kyu.
00:13:05It's a fake.
00:13:07No way.
00:13:08It's a three-year-old.
00:13:11It's made of silicon molding and soldering.
00:13:19I'm sorry.
00:13:25I'm done.
00:13:26I felt a little suspicious.
00:13:30That old man.
00:13:32I'm glad you saw it.
00:13:35It's a fake.
00:13:36It's a fake.
00:13:39Send the application to my house as usual.
00:13:42Yes.
00:13:45Thank you very much.
00:13:47See you.
00:13:52Excuse me.
00:13:54Welcome.
00:13:55Thank you.
00:13:56What can I do for you?
00:13:58I'm not a detective.
00:14:01I'd like to interview you.
00:14:04I refuse.
00:14:07Please.
00:14:10Did the editor-in-chief scold you?
00:14:12No.
00:14:14Why?
00:14:15Why?
00:14:17I'm not a detective.
00:14:20I was scolded by the editor-in-chief.
00:14:27Why?
00:14:30I don't want to hurt you.
00:14:36Please go.
00:14:41Are you angry?
00:14:42Yes.
00:14:45This is the Omega Speedmaster.
00:14:47It was released 5 years ago.
00:14:49It's a limited edition.
00:14:51I bought it for 4,000,000 yen.
00:14:53It costs 980 yen.
00:14:57It's a gift from my parents.
00:15:05What does it mean?
00:15:09I refuse.
00:15:11I won't answer.
00:15:13I don't want to know.
00:15:15I don't want to know.
00:15:17I don't want to know.
00:15:24Hello.
00:15:27Hello.
00:15:29Welcome.
00:15:32I have a request.
00:15:36I'm busy.
00:15:38No problem.
00:15:40Please come in.
00:15:42Thank you.
00:15:52What can I do for you?
00:15:54What do you want me to do?
00:15:56I want you to be a detective.
00:16:00Yes.
00:16:02Mona Lisa.
00:16:06Mona Lisa?
00:16:07Yes.
00:16:12This November,
00:16:13Mona Lisa will come to Japan for the first time in 40 years.
00:16:18As you know,
00:16:20Mona Lisa is the most important piece of art.
00:16:23It's a historical masterpiece.
00:16:27In order to convey this masterpiece to the people of the world,
00:16:30Mona Lisa decided to travel around the world.
00:16:35It will be exhibited in New York, Rio de Janeiro,
00:16:38Shanghai, Dubai,
00:16:40and Tokyo.
00:16:45What did you say, Mr. Asahina?
00:16:50I'm sorry.
00:16:52I'm a member of the Ruble Association.
00:16:57I will explain.
00:17:00When it comes to exhibiting it in other countries,
00:17:02French staff often don't understand foreign languages.
00:17:05Therefore,
00:17:06we need local people to strengthen our security.
00:17:11We select a temporary member of the Ruble Association
00:17:16who has the same skills as a member of the association.
00:17:20So, what do I do?
00:17:23In a week,
00:17:24the Ruble Association will hold a test
00:17:26to select a member of the Ruble Association
00:17:28who has the same skills as a member of the association.
00:17:30We will select a member of the Ruble Association
00:17:32who has the same skills as a member of the association.
00:17:35We would like you to participate in the test.
00:17:46I can't believe it!
00:17:49I can't believe it!
00:17:53I really want to participate in the test.
00:17:55It costs a lot of money.
00:17:59Are you kidding me?
00:18:01It's really amazing.
00:18:02Wait a minute.
00:18:06Is she a member of the association?
00:18:14She's my type.
00:18:19She's my type.
00:18:20She's my type.
00:18:21She's my type.
00:18:22She's my type.
00:18:23She's my type.
00:18:24She's my type.
00:18:25She's my type.
00:18:26She's my type.
00:18:27She's my type.
00:18:28She's my type.
00:18:29She's my type.
00:18:30She's my type.
00:18:31She's my type.
00:18:32She's my type.
00:18:33She's my type.
00:18:34She's my type.
00:18:35She's my type.
00:18:36She's my type.
00:18:37She's my type.
00:18:38She's my type.
00:18:39She's my type.
00:18:40She's my type.
00:18:41She's my type.
00:18:42She's my type.
00:18:43She's my type.
00:18:44She's my type.
00:18:45She's my type.
00:18:46She's my type.
00:18:47She's my type.
00:18:48She's my type.
00:18:49She's my type.
00:18:50She's my type.
00:18:51She's my type.
00:18:52She's my type.
00:18:53She's my type.
00:18:54She's my type.
00:18:55She's my type.
00:18:56She's my type.
00:18:57She's my type.
00:18:58She's my type.
00:18:59She's my type.
00:19:00She's my type.
00:19:01She's my type.
00:19:02She's my type.
00:19:03She's my type.
00:19:04She's my type.
00:19:05She's my type.
00:19:06She's my type.
00:19:07She's my type.
00:19:08She's my type.
00:19:09She's my type.
00:19:10She's my type.
00:19:11She's my type.
00:19:12She's my type.
00:19:13She's my type.
00:19:14She's my type.
00:19:15She's my type.
00:19:16She's my type.
00:19:17She's my type.
00:19:18She's my type.
00:19:19She's my type.
00:19:20She's my type.
00:19:21She's my type.
00:19:22She's my type.
00:19:23She's my type.
00:19:24She's my type.
00:19:25She's my type.
00:19:26She's my type.
00:19:27She's my type.
00:19:28She's my type.
00:19:29She's my type.
00:19:30She's my type.
00:19:31She's my type.
00:19:32She's my type.
00:19:33She's my type.
00:19:34She's my type.
00:19:35She's my type.
00:19:36She's my type.
00:19:37She's my type.
00:19:38She's my type.
00:19:39She's my type.
00:19:40She's my type.
00:19:41She's my type.
00:19:42She's my type.
00:19:43She's my type.
00:19:44She's my type.
00:19:45She's my type.
00:19:46She's my type.
00:19:47She's my type.
00:19:48She's my type.
00:19:49She's my type.
00:19:50She's my type.
00:19:51She's my type.
00:19:52She's my type.
00:19:53She's my type.
00:19:54She's my type.
00:19:55She's my type.
00:19:56She's my type.
00:19:57She's my type.
00:19:58She's my type.
00:19:59She's my type.
00:20:00She's my type.
00:20:01She's my type.
00:20:02She's my type.
00:20:03She's my type.
00:20:04She's my type.
00:20:05She's my type.
00:20:06She's my type.
00:20:07She's my type.
00:20:08She's my type.
00:20:09She's my type.
00:20:10She's my type.
00:20:11She's my type.
00:20:12She's my type.
00:20:13She's my type.
00:20:14She's my type.
00:20:15She's my type.
00:20:16She's my type.
00:20:17She's my type.
00:20:18She's my type.
00:20:19She's my type.
00:20:20She's my type.
00:20:21She's my type.
00:20:22She's my type.
00:20:23She's my type.
00:20:24She's my type.
00:20:25She's my type.
00:20:26She's my type.
00:20:27She's my type.
00:20:28She's my type.
00:20:29She's my type.
00:20:30She's my type.
00:20:31She's my type.
00:20:32She's my type.
00:20:33She's my type.
00:20:34She's my type.
00:20:35She's my type.
00:20:36She's my type.
00:20:37She's my type.
00:20:38She's my type.
00:20:39She's my type.
00:20:40She's my type.
00:20:41She's my type.
00:20:42She's my type.
00:20:43She's my type.
00:20:44She's my type.
00:20:45She's my type.
00:20:46She's my type.
00:20:47She's my type.
00:20:48She's my type.
00:20:49She's my type.
00:20:50She's my type.
00:20:51She's my type.
00:20:52She's my type.
00:20:53She's my type.
00:20:54She's my type.
00:20:55She's my type.
00:20:56She's my type.
00:20:57She's my type.
00:20:58She's my type.
00:20:59She's my type.
00:21:00She's my type.
00:21:01She's my type.
00:21:02She's my type.
00:21:03She's my type.
00:21:04She's my type.
00:21:05She's my type.
00:21:06She's my type.
00:21:07She's my type.
00:21:08She's my type.
00:21:09She's my type.
00:21:10She's my type.
00:21:11She's my type.
00:21:12She's my type.
00:21:13She's my type.
00:21:14She's my type.
00:21:15She's my type.
00:21:16She's my type.
00:21:17She's my type.
00:21:18She's my type.
00:21:19She's my type.
00:21:20She's my type.
00:21:21She's my type.
00:21:22She's my type.
00:21:23She's my type.
00:21:24She's my type.
00:21:25She's my type.
00:21:26She's my type.
00:21:27She's my type.
00:21:28She's my type.
00:21:29She's my type.
00:21:30She's my type.
00:21:31She's my type.
00:21:32She's my type.
00:21:33She's my type.
00:21:34She's my type.
00:21:35She's my type.
00:21:36She's my type.
00:21:37She's my type.
00:21:38She's my type.
00:21:39She's my type.
00:21:40She's my type.
00:21:41She's my type.
00:21:42She's my type.
00:21:43She's my type.
00:21:44She's my type.
00:21:45She's my type.
00:21:46She's my type.
00:21:47She's my type.
00:21:48She's my type.
00:21:49She's my type.
00:21:50She's my type.
00:21:51She's my type.
00:21:52She's my type.
00:21:53She's my type.
00:21:54She's my type.
00:21:55She's my type.
00:21:56She's my type.
00:21:57She's my type.
00:21:58She's my type.
00:21:59She's my type.
00:22:00She's my type.
00:22:01She's my type.
00:22:02She's my type.
00:22:03She's my type.
00:22:04She's my type.
00:22:05She's my type.
00:22:06She's my type.
00:22:07She's my type.
00:22:08She's my type.
00:22:09She's my type.
00:22:10She's my type.
00:22:11We've all come from far away countries, and I'd like to thank you for passing the
00:22:15Adaptitude exam, which will perhaps allow you to meet the real Joconde.
00:22:22You're going to test using Mona Lisa?
00:22:31Isn't it amazing?
00:22:34We've scattered several Jocondes in the building.
00:22:39But only one of them is the real Joconde.
00:22:46The exam you're going to take is to find her.
00:22:54In this building, there are several Mona's, including Lisa.
00:22:59I'm sorry, I have a bad memory.
00:23:01Huh?
00:23:03Huh?
00:23:05Sir...
00:23:07If you'd like to follow me, we'll go to the grammar room.
00:23:34I'm sorry, I have a bad memory.
00:24:04I'm sorry, I have a bad memory.
00:24:20Are you okay?
00:24:21I'm excited to see the real Mona Lisa.
00:24:26That's right.
00:24:28I'm excited too.
00:24:34I'm excited too.
00:24:47I'm sorry, you can't come in.
00:24:49Excuse me.
00:25:04I'm sorry.
00:25:34I'm sorry.
00:26:04I'm sorry.
00:26:34I'm sorry.
00:26:49Miss?
00:26:50Your answer?
00:26:55Um...
00:26:57Everything in that room...
00:27:01Everything...
00:27:04Imitation.
00:27:05Everything is imitation.
00:27:11Panels.
00:27:12Displays.
00:27:16Closets.
00:27:17Columns.
00:27:18Panels.
00:27:20The Joconde is blue.
00:27:22Panels?
00:27:35Impressive.
00:27:38Congratulations, Miss.
00:27:44I was told you were a genius.
00:27:46Excellent work.
00:27:51Thank you.
00:27:54Thank you very much.
00:27:59You may leave.
00:28:00Thank you.
00:28:14How did you know that was the real thing?
00:28:18I just felt that one piece was different.
00:28:30Thank you.
00:28:37Cheers.
00:28:38Cheers.
00:28:50I'm sorry, Omega.
00:28:52What?
00:28:54You've been taking care of my arm since I got it.
00:28:58You took such good care of it.
00:29:02But you didn't take care of it when I came to Paris.
00:29:07Paris is a country of its own, isn't it?
00:29:12I'll get the watch back as soon as I can.
00:29:19Let's eat.
00:29:21Thank you.
00:29:26Hello, Miss Rinnariko.
00:29:31I'm Misa Ryusei.
00:29:32Nice to meet you.
00:29:34I heard you were staying at this hotel.
00:29:39I'm glad you came to Japan.
00:29:41Nice to meet you.
00:29:48Nice to meet you.
00:29:50Nice to meet you, too.
00:29:55Tokyo University of the Arts.
00:29:58Specialist in the field of emergency medical examinations.
00:30:02Co-researcher at the National Museum of Ethnology.
00:30:08You're an all-rounder?
00:30:13Yes.
00:30:17That's amazing.
00:30:20I almost fell for it this time.
00:30:24Have you taken the exam before?
00:30:27I passed the entrance exam in Japan.
00:30:30I was chosen for the field of emergency medical examinations.
00:30:32Let me introduce you.
00:30:34He's our lecturer in Japan.
00:30:36Mr. Richard Bressan.
00:30:38Congratulations.
00:30:40You have an incomparable talent.
00:30:42I can't wait to see it.
00:30:44It's an adventure that starts with the game of combat.
00:30:51Nice to meet you.
00:30:53Linda, do you speak French?
00:30:57All the lectures are in French.
00:30:59For the final exam, you have to take a 20-day special training course in French.
00:31:03It's important information.
00:31:05Only we can get in.
00:31:07This interpreter, too.
00:31:09I'm not an interpreter.
00:31:11I'm a reporter at the Kadokawa bookstore.
00:31:13I'm Ogasara.
00:31:14I'm here for an interview.
00:31:17I can't do the interview.
00:31:20You can't do the interview?
00:31:22Linda, where did you learn about painting?
00:31:27I'm self-taught.
00:31:29Did you get to know Mona Lisa?
00:31:35You're an all-rounder.
00:31:41This is where the lectures will take place.
00:31:43This is where the lectures will take place.
00:31:45It's like a training camp.
00:31:47Training camp?
00:31:48Good.
00:31:49We'll see you in Japan.
00:31:51Have a good day.
00:31:53Linda, I'll see you in Japan.
00:31:55Let's do our best.
00:31:58Yes.
00:32:04I don't like this.
00:32:13I don't like this.
00:32:43You'll have to sharpen your intuition.
00:32:47A very rare manuscript by Léonard de Vinci
00:32:49has been specially made for the exhibition.
00:32:52It's behind me.
00:32:55The Louvre has prepared a high-level exercise for you.
00:32:58The real manuscript is hidden among the imitations in front of you.
00:33:04What?
00:33:07We'll find the real one together.
00:33:12Riko, you start.
00:33:13First, Linda, choose two imitations.
00:33:21Yes.
00:33:36Forget what you've learned.
00:33:38Let your instincts guide you.
00:33:41Don't be afraid to make mistakes.
00:33:42Go ahead.
00:33:44Choose more intuitively.
00:33:46Choose with your instincts.
00:34:01The second from the left.
00:34:03The fourth from the top.
00:34:06The fifth from the bottom.
00:34:09Lisa, which one do you think is fake?
00:34:14I'll choose the one I think is fake.
00:34:21Repeat this.
00:34:23In other words,
00:34:24one person will eliminate one of the two images.
00:34:29This is a training to find the real one.
00:34:35Next, I'll choose two images that I think are fake.
00:34:49I don't stop.
00:34:50Choose one that you intuitively think is fake.
00:35:06There are only two manuscripts left.
00:35:09Lisa, choose the one you think is real.
00:35:14Okay.
00:35:16First, we'll check if this one is real.
00:35:19Turn the manuscript over.
00:35:26Let me do it.
00:35:29Turn the other one over.
00:35:32Turn the other one over.
00:35:40This is the real one.
00:35:42At this level of quality,
00:35:43recognizing a fake is a matter of accuracy.
00:35:46Almost.
00:35:47Of physical sensation.
00:35:50You have to train yourself again and again
00:35:53until you reach this level of precision.
00:35:56Come on.
00:35:57Let's start again.
00:36:02Hey, you!
00:36:05Yes?
00:36:07What are you doing?
00:36:10I'm sightseeing.
00:36:12Don't take photos.
00:36:14I'm sorry.
00:36:19Who was that?
00:36:20I don't know.
00:36:22I'm sorry.
00:36:30That's all for today. Thank you.
00:36:35Cut it out.
00:36:37If you keep translating in a situation like this,
00:36:40I won't be able to understand the lecture properly.
00:36:44I'm sorry.
00:36:46It's funny that a student can't speak French.
00:36:51I won't translate from tomorrow.
00:36:54Do it yourself.
00:37:22Are you from around here?
00:37:25Riko?
00:37:26Yes.
00:37:27No.
00:37:28I'm from Hateruma Island.
00:37:30Hateruma?
00:37:31In Okinawa?
00:37:32Yes.
00:37:34I heard my grades were bad back then.
00:37:37Your grades were bad?
00:37:39I can't say it in Okinawa,
00:37:41but I heard I was an idiot.
00:37:46That's not true.
00:37:48You said it yourself.
00:37:52When you decided to go to Tokyo.
00:37:54Yes.
00:37:58For the time being,
00:38:00go to Tokyo and find a job.
00:38:03That's your grade.
00:38:06What did I do wrong?
00:38:09Was it the teacher?
00:38:12As a teacher,
00:38:14you worked hard for three years to teach.
00:38:17You took the longest time to become a teacher.
00:38:21I'm sure of it.
00:38:26Are you interested in paintings?
00:38:31Yes, I am.
00:38:33I like his paintings.
00:38:35Kilimanjaro?
00:38:36Michelangelo.
00:38:37Right.
00:38:38Leonardo and Michelangelo.
00:38:39They're mixed.
00:38:40And?
00:38:41Cézanne.
00:38:42Cézanne.
00:38:43Cézanne?
00:38:45Cézanne.
00:38:46Listen.
00:38:48Even if you go to Tokyo,
00:38:50don't get involved in the water business.
00:38:53Don't get involved in the water business?
00:38:56Then I can't go to the convenience store.
00:38:58No, you can go to the convenience store.
00:39:00You can sell as much water as you want.
00:39:02The water business I'm talking about is...
00:39:04The aquarium.
00:39:05It's okay.
00:39:06I'm not good at fishing.
00:39:09I heard Riko thought the water business
00:39:11was the job of an aquarium.
00:39:15I see.
00:39:30After you came to this store,
00:39:31did you learn about Riko?
00:39:34My manager found out about Riko's talent.
00:39:38I see.
00:39:39Did you hear about the memory stick?
00:39:41Memory stick?
00:39:42Riko's manager taught me how to use a memory stick.
00:39:45It's a memory stick that makes use of your senses.
00:39:49You have to imagine a lot of things when you use it.
00:39:52You have to be moved and learn.
00:39:57Do you understand?
00:39:58No.
00:40:01It's like a combination of strong emotions.
00:40:07Strong emotions?
00:40:09It's like smelling and crying.
00:40:12Smelling and crying?
00:40:39I'm sorry.
00:41:09I'm sorry.
00:41:25That's all for today.
00:41:37Excuse me.
00:41:39Yes?
00:41:40Earlier you said
00:41:42that the idea that the contours don't exist in nature
00:41:47is to use the technique of the memory stick
00:41:50to express all the color gradations.
00:41:54Is that right?
00:41:55Yes, that's right.
00:41:57Thank you very much.
00:41:59You're welcome.
00:42:00Feel free to ask me questions if you want.
00:42:09If you don't want to do this, feel free not to.
00:42:12I'm going to type a question.
00:42:21I'm going to type a question.
00:42:23What is it?
00:42:24I don't understand.
00:42:36Come on.
00:42:39Yes, sir.
00:42:41Yes, sir.
00:43:04I found a small letter hidden in his eyes.
00:43:12I can see the letters L and V in Leonardo da Vinci's eyes.
00:43:20L and V.
00:43:22Gréco?
00:43:24What are you doing?
00:43:27L and V in his eyes?
00:43:30Yes.
00:43:31We're talking about it.
00:43:33By the way, the hypothesis has been thoroughly explored in this article.
00:43:41It's in French.
00:43:43Can you read it?
00:43:45Yes.
00:43:46Yes.
00:43:52The researchers who worked on this letter
00:43:56suffered a weakness in the occipital lobe.
00:44:01Yes.
00:44:02The occipital lobe is an important part of the brain
00:44:06that manages the functions of sight and color.
00:44:09The researchers who see the letters in the eye
00:44:13face a problem of cognition
00:44:16that causes mental disorders.
00:44:19At least, that's what they say.
00:44:21Is it really possible?
00:44:25It's still a hypothesis.
00:44:27That said, what's certain
00:44:30is that Leonardo da Vinci had a deep knowledge of anatomy.
00:44:34The idea that he hid in his painting
00:44:37a device to disturb the nerve cells of the brain
00:44:40is plausible and fascinating.
00:45:04What are you doing?
00:45:09I got permission from Dr. Bre.
00:45:15I thought I'd learn something if I kept watching.
00:45:21You're very hard-working.
00:45:25I've never seen anyone learn French so quickly.
00:45:31You knew, didn't you?
00:45:35No, I didn't.
00:45:48Hey.
00:45:50Do you want to try looking for the real thing?
00:46:00No.
00:46:09The top of the first one
00:46:13and the top of the fifth one.
00:46:18This is the real thing.
00:46:24The end of the first one
00:46:26and the top of the fourth one.
00:46:30The top of the sixth one
00:46:35and the top of the second one.
00:46:37The top of the third one
00:46:39and the bottom of the fifth one.
00:46:41Over there.
00:46:55Which do you think is the real thing?
00:47:01I think it's this one.
00:47:05I think so, too.
00:47:24I got it!
00:47:26I got it for the first time!
00:47:27You did it!
00:47:30You did it!
00:47:35What's wrong?
00:47:39My head hurts.
00:47:48Are you all right?
00:47:51Yes, I'm fine.
00:47:55This is lavender tea.
00:47:57It'll calm you down.
00:47:59Thank you.
00:48:03I don't know.
00:48:05Maybe it's because I'm not used to the environment.
00:48:08You must be tired.
00:48:10You don't study at night, do you?
00:48:15I'm not as educated as you are.
00:48:21I'm not as educated as you are.
00:48:25I have to work hard to catch up with you.
00:48:33It's good.
00:48:50My father was a painter.
00:48:54That's why I've always wanted to be an artist.
00:49:01It's amazing.
00:49:04But one day,
00:49:07my father was caught in a big deal.
00:49:12He sold his paintings.
00:49:15He lost his credibility.
00:49:19He lost his painting business.
00:49:25After that, he had a hard time.
00:49:29He had to give up his art career.
00:49:38Hey.
00:49:41Why do you think art remains for hundreds of years?
00:49:49Art left behind over the centuries
00:49:52is something that people have discovered.
00:49:55That's why it's real.
00:49:58That's why it's visible.
00:50:01You and I see the real shine.
00:50:09Isn't it wonderful?
00:50:12I think so.
00:50:15I've devoted myself to painting.
00:50:21I can't forgive myself
00:50:26for trampling on the value of painting.
00:50:45The most important element
00:50:48to confirm the authenticity of the joconde
00:50:51is not her smile, as many think,
00:50:53but her eyes, her gaze.
00:50:55I don't know if you've noticed
00:50:57the lack of parallelism between the two eyes.
00:51:00Lower.
00:51:10Today, I'd like you to continue to train us.
00:51:14We'll use a work by Leonardo da Vinci's third disciple,
00:51:18Bernardino Luini.
00:51:20The work in question is The Child Jesus and the Lamb.
00:51:30The Child Jesus and the Lamb
00:52:00The Child Jesus and the Lamb
00:52:30The Child Jesus and the Lamb
00:52:40Researchers who distinguish the letters in the eye of the joconde
00:52:44are confronted with a problem of cognition
00:52:47that results in psychological problems.
00:53:00The Child Jesus and the Lamb
00:53:30The Child Jesus and the Lamb
00:54:00The Child Jesus and the Lamb
00:54:12Among these 12 paintings
00:54:16is the real joconde.
00:54:24Now, we're going to finish your training.
00:54:30As usual, you have to find the original among the copies.
00:54:39This is your last test.
00:54:43Rico, you go first.
00:54:46The Child Jesus and the Lamb
00:54:59The third from the left.
00:55:02The sixth from the right.
00:55:09This one from the left. Eliminate it.
00:55:12Please.
00:55:16The Child Jesus and the Lamb
00:55:24Go ahead.
00:55:29You have completed the first part.
00:55:32Now, Misa, it's your turn.
00:55:47The Child Jesus and the Lamb
00:55:52The Child Jesus and the Lamb
00:56:12Well, we've reached the final choice.
00:56:17There are two paintings left.
00:56:23Misa.
00:56:31This one from the right and the one from the left.
00:56:34And you, Rico, what do you think?
00:56:40Me too. I think this one from the right.
00:56:45Let's see, please.
00:56:49Go ahead.
00:56:57The Child Jesus and the Lamb
00:57:00Yes, that's it, bravo, that's great.
00:57:03You're amazing, in such a short time, bravo, bravo.
00:57:06Thank you.
00:57:08Bravo, bravo.
00:57:10I have nothing more to teach you.
00:57:13Bravo.
00:57:15Bravo, bravo, bravo.
00:57:21Are you okay? Are you okay?
00:57:24Rico? Rico?
00:57:45The Child Jesus and the Lamb
00:58:16The Child Jesus and the Lamb
00:58:29Rico? Rico?
00:58:33Rico?
00:58:39Are you okay?
00:58:41You've been acting strange since we got back.
00:58:45I'm sorry.
00:58:55Rico, what are you doing?
00:58:59I noticed this painting.
00:59:02It looks like the painting of Kano Tsunenobu.
00:59:05That's just a replica.
00:59:07Anyway, look at this vase.
00:59:10It's a masquerade.
00:59:12Is this a masquerade?
00:59:16Yes, it is.
00:59:18It's a masquerade.
00:59:21It's a replica.
00:59:23What's wrong with you?
00:59:42The Child Jesus and the Lamb
01:00:12The Child Jesus and the Lamb
01:00:42The Child Jesus and the Lamb
01:01:13The number you have dialed cannot be reached at the moment.
01:01:19I can't get through to anyone.
01:01:22Do you know where everyone is?
01:01:25I don't know.
01:01:28But when I last saw you, you were acting strange.
01:01:34Strange?
01:01:36You were acting strange.
01:01:39Strange?
01:01:41It's a 5,000-yen painting.
01:01:44It's in good condition.
01:01:47I think it's worth about 3,000 yen.
01:01:513,000 yen?
01:01:55It's a large white painting.
01:01:58The year is...
01:02:01The year is...
01:02:04It's a painting by Alvis.
01:02:08Are you all right?
01:02:11Riko, you can't judge anymore.
01:02:15You're not the usual Riko.
01:02:18You were surprised when you saw her.
01:02:21What happened?
01:02:23She was muttering something.
01:02:27She said she couldn't judge because she saw Mona Lisa's eyes.
01:02:35Mona Lisa's eyes?
01:02:57Do you know about Mona Lisa's eyes?
01:02:59Her eyes?
01:03:01She said she lost her ability after seeing them.
01:03:04That's just a rumor.
01:03:06That's ridiculous.
01:03:08Ms. Ryusenji.
01:03:09I'm sorry. I have to go back.
01:03:17I heard that Linda lost her license.
01:03:22What?
01:03:24I'm confused, too.
01:03:27If you know anything, please tell me.
01:03:38That's impossible.
01:03:40She lost her ability because she saw Mona Lisa's eyes.
01:03:44You can't be 100% sure.
01:03:50Then why?
01:03:52I don't know.
01:03:54But there must be a reason why she suddenly lost her ability.
01:04:00For example?
01:04:01For example...
01:04:03We can't know what she was doing until then.
01:04:22What do you mean?
01:04:44Okazawa.
01:04:46Yes?
01:04:48Do you know what day it is today?
01:04:51What day?
01:04:53Today is the deadline.
01:04:57You idiot.
01:04:58I'm sorry. I'm in trouble.
01:05:00Don't make excuses.
01:05:02If you can't write an article, get out of here.
01:05:15What's going on?
01:05:18What's going on?
01:05:25What's going on?
01:05:47What's going on?
01:06:07What's going on?
01:06:18We can't know what she was doing until then.
01:06:26What was Linda doing?
01:06:29I'm sorry. I'm in trouble.
01:06:32You idiot.
01:06:34I'm sorry. I'm in trouble.
01:06:37You idiot.
01:06:39I'm sorry. I'm in trouble.
01:06:45I found a real one.
01:06:48A fake one.
01:06:50A fake one.
01:06:53A fake one.
01:06:59Let's do this.
01:07:01First, pick two cards.
01:07:05Remove one card.
01:07:07Return it.
01:07:29Draw a card.
01:07:31Remove one card.
01:07:33Return it.
01:07:35Draw a card.
01:07:37Return it.
01:07:39Draw a card.
01:07:41Return it.
01:07:43Draw a card.
01:07:45Return it.
01:07:47Draw a card.
01:07:49Return it.
01:07:51Draw a card.
01:07:53Return it.
01:07:55Draw a card.
01:07:57Return it.
01:07:59Draw a card.
01:08:01Return it.
01:08:03Draw a card.
01:08:05Return it.
01:08:07Draw a card.
01:08:09Return it.
01:08:11Draw a card.
01:08:13Return it.
01:08:15Draw a card.
01:08:17Return it.
01:08:19Draw a card.
01:08:21Return it.
01:08:23Draw a card.
01:08:25...
01:08:29Huh?
01:08:34Wait a second.
01:08:36I'm sorry.
01:08:55I see.
01:09:02Hello?
01:09:03Mr. Ogatara, I know where Riko is.
01:09:08She sent me the ticket she had.
01:09:12Where is she?
01:09:33I don't know.
01:10:04RIKO
01:10:17She's here.
01:10:22Everyone, please wait.
01:10:26I want you to see this.
01:10:29I'm begging you.
01:10:31Don't disappoint me.
01:10:37I'm begging you.
01:10:43I...
01:10:46I've never been so absorbed in a job interview.
01:10:52But meeting you...
01:10:55Interviews are so much fun.
01:11:00I'm so grateful to you for making me feel that way.
01:11:05So...
01:11:07So please, give me some time.
01:11:13If everything I've done was meaningless...
01:11:18I'll never appear in front of you again.
01:11:25RINDA
01:11:27Can you choose two for me?
01:11:34This one and this one.
01:11:40I'll get rid of this one.
01:11:43I'll get one back.
01:11:46Now it's my turn.
01:11:49This one and this one.
01:11:51Rinda.
01:11:54I'll get one back.
01:11:57This one and this one.
01:12:03I'll get rid of this one.
01:12:08I'll get rid of this one.
01:12:20Why?
01:12:21Why?
01:12:22I knew where the answer was.
01:12:26No matter how many times you choose this card,
01:12:28I can get it back.
01:12:31This one and this one.
01:12:36I'll get rid of this one.
01:12:38I'll get it back.
01:12:41This one and this one.
01:12:42Of course, when I choose two cards,
01:12:44I only choose the X card.
01:12:47And as long as there are multiple X cards,
01:12:49I'll always be the last one to choose.
01:12:52That's why I can tell you the answer.
01:12:56This training didn't require any special skills.
01:12:59It was just a trick.
01:13:03This training was what misled Rinda's ability to tell the difference.
01:13:08I heard from the psychiatrist that
01:13:10repetitive eating and sleeping
01:13:12can affect the brain's circuitry.
01:13:16That training using fake food
01:13:18was what misled Rinda.
01:13:23Synapses.
01:13:28When you repeatedly learn something wrong,
01:13:30you'll eventually think it's right.
01:13:33In other words, if you make a mistake,
01:13:35you'll make the opposite judgment.
01:13:37RINDA'S MISTAKE
01:13:44What made me go crazy
01:13:47wasn't the words in my eyes.
01:13:55But that article...
01:14:02I saw the article in the newspaper.
01:14:05I'm sure that article was fake.
01:14:08It's true that the letters L and V in the eyes
01:14:11were confirmed by a research team.
01:14:14But...
01:14:15there's no article that says
01:14:17there's something wrong with their brains.
01:14:20Then...
01:14:22the 12 Mona Lisa's I saw...
01:14:27They're all fake, aren't they?
01:14:31The lie started when I was handed the documents at the cafe in Paris.
01:14:36The misleading about Rinda's ability to tell the difference
01:14:38was fake.
01:14:46What about Lisa?
01:14:48She's probably dead.
01:14:50Rinda is involved in a big case.
01:14:55If we don't hurry,
01:14:57something terrible will happen.
01:15:01Mona Lisa World Expo
01:15:03It was held in Tokyo in 1974.
01:15:06It's been 40 years since the last time
01:15:08the public exhibition of Mona Lisa was held.
01:15:11It's been over 100 years since the first exhibition
01:15:14was held at the Tokyo Museum of Art.
01:15:27Good luck, Lisa.
01:15:30Thank you.
01:16:01I'm sorry.
01:16:03I'm sorry.
01:16:05I'm sorry.
01:16:07I'm sorry.
01:16:09I'm sorry.
01:16:11I'm sorry.
01:16:13I'm sorry.
01:16:15I'm sorry.
01:16:17I'm sorry.
01:16:19I'm sorry.
01:16:21I'm sorry.
01:16:23I'm sorry.
01:16:25I'm sorry.
01:16:27I'm sorry.
01:16:29I'm sorry.
01:16:59I'm sorry.
01:17:29I'm sorry.
01:17:59Tokyo Museum of Art
01:18:26Yes.
01:18:27I'm from the Tokyo Museum of Art.
01:18:32I'm here to see the exhibition.
01:18:34At 7 p.m.,
01:18:36five workers will come in.
01:18:39What's your name?
01:18:43I'm from the Tokyo Museum of Art.
01:18:46Yes.
01:18:48Yes.
01:18:57Yes.
01:19:27Yes.
01:19:28Yes.
01:19:29Yes.
01:19:30Yes.
01:19:31Yes.
01:19:32Yes.
01:19:33Yes.
01:19:34Yes.
01:19:35Yes.
01:19:36Yes.
01:19:37Yes.
01:19:38Yes.
01:19:39Yes.
01:19:40Yes.
01:19:41Yes.
01:19:42Yes.
01:19:43Yes.
01:19:44Yes.
01:19:45Yes.
01:19:46Yes.
01:19:47Yes.
01:19:48Yes.
01:19:49Yes.
01:19:50Yes.
01:19:51Yes.
01:19:52Yes.
01:19:53Yes.
01:19:54Yes.
01:19:55Yes.
01:19:56Yes.
01:19:57Yes.
01:19:58Yes.
01:19:59Yes.
01:20:00Yes.
01:20:01Yes.
01:20:02Yes.
01:20:03Yes.
01:20:04Yes.
01:20:05Yes.
01:20:06Yes.
01:20:07Yes.
01:20:08Yes.
01:20:09Yes.
01:20:10Yes.
01:20:11Yes.
01:20:12Yes.
01:20:13Yes.
01:20:14Yes.
01:20:15Yes.
01:20:16Yes.
01:20:17Yes.
01:20:18Yes.
01:20:19Yes.
01:20:20Yes.
01:20:21Yes.
01:20:22Yes.
01:20:23Yes.
01:20:24Yes.
01:20:25Yes.
01:20:26Yes.
01:20:27Yes.
01:20:28Yes.
01:20:29Yes.
01:20:30Yes.
01:20:31Yes.
01:20:32Yes.
01:20:33Yes.
01:20:34Yes.
01:20:35Yes.
01:20:36Yes.
01:20:37Yes.
01:20:38Yes.
01:20:39Yes.
01:20:40Yes.
01:20:41Yes.
01:20:42Yes.
01:20:43Yes.
01:20:44Yes.
01:20:45Yes.
01:20:46Yes.
01:20:47Yes.
01:20:48Yes.
01:20:49Yes.
01:20:50Yes.
01:20:51Yes.
01:20:52Yes.
01:20:53Yes.
01:20:54Yes.
01:20:55Yes.
01:20:56Yes.
01:20:57I'm sorry, but I have to go to the bathroom.
01:21:12Hello.
01:21:14Hello.
01:21:15Is this the office?
01:21:16Yes.
01:21:19Excuse me for a moment.
01:21:21Hello.
01:21:22Thank you for your hard work.
01:21:27Oh, it's a sign.
01:21:29Yes.
01:21:30Thank you very much.
01:21:31You're welcome.
01:21:32Thank you very much.
01:21:33Thank you for your hard work.
01:21:40We will finally be able to show the public the real Joconde.
01:21:45Well done, my love.
01:21:48We will eliminate the fake Joconde
01:21:50and thus reveal to the whole world the lie of the Louvre.
01:21:55Abel.
01:21:59Thank you from the bottom of my heart, Missa.
01:22:03Thanks to you, I have the feeling that I have finally won.
01:22:07We will celebrate this once the calm has returned.
01:22:10Yes.
01:22:20Monalisa
01:22:37Linda.
01:22:40Please give Monalisa back.
01:22:43Monalisa has been stolen.
01:22:44We have received a message.
01:22:47Who is this from?
01:22:48I don't know yet.
01:22:49Let's go.
01:22:50Yes.
01:22:55Why can't I get in?
01:23:20Huh?
01:23:28Don't tell me he's...
01:23:38It hurts!
01:23:40It hurts!
01:23:44Taxi!
01:23:45Taxi!
01:23:47Taxi!
01:23:49Where is Monalisa?
01:23:55What's so strange about this?
01:24:03He and I have always been afraid of you.
01:24:12You were in the way of our plans.
01:24:17That's why you lost your ability and were excluded from the Academy.
01:24:23Why?
01:24:25You and the people of the world were deceived by the Louvre.
01:24:34We didn't steal Monalisa.
01:24:38We gave her back.
01:24:41Gave her back?
01:24:46Monalisa
01:24:51Helena.
01:24:52Oh, it's you.
01:24:54The one in the collection of this museum is the real Monalisa.
01:25:02Monalisa was once stolen 103 years ago.
01:25:06And it is said that she returned to the Louvre.
01:25:10But that's a lie.
01:25:13We made that lie come true.
01:25:18You know that, don't you?
01:25:21The theft of Monalisa in 1911.
01:25:26The glass craftsman of the Louvre, Pelluccia, was asked by a man to steal Monalisa.
01:25:33Pelluccia hid the stolen Monalisa in her apartment and waited for the client to come to get it.
01:25:40The client's name was Marques.
01:25:44Marques didn't come to Pelluccia to get the Monalisa.
01:25:49Because he had another purpose.
01:25:53Marques's purpose was to get the fact that the Monalisa was stolen.
01:25:59If the fact that the real thing was stolen from the Louvre, Marques could continue to sell his works.
01:26:06But after that, Pelluccia tried to sell the real thing.
01:26:12And the real thing was returned to the Louvre.
01:26:16That's a lie.
01:26:18Pelluccia was trying to sell a fake one.
01:26:22The real Monalisa was still in the place where Pelluccia hid it.
01:26:26It was passed on to Matsue.
01:26:29This is the history of the truth.
01:26:31Who can prove that?
01:26:34This is the real Pelluccia, who stole the real Monalisa.
01:26:40In other words, the fake Richard Bret.
01:26:45He is Pelluccia's Matsue?
01:26:48You saw the back of the Monalisa that was removed from the panel, right?
01:26:53The letter H29.
01:26:56But the back of the real thing is completely different.
01:27:05Wait a minute.
01:27:10Let's check it again.
01:27:13Open it.
01:27:35No way!
01:27:38What's going on?
01:27:41On the back of the real Monalisa, it says 1503.
01:27:47The coat of arms with the Salamander motif is engraved.
01:27:52The words of François Issey are also written on it.
01:27:56This is the fact that was published in the Italian newspaper in August 7, 1910.
01:28:04This is the fact that was published in the Italian newspaper in August 7, 1910.
01:28:21The article may have been fabricated by Marques to sell the original work.
01:28:27Unfortunately, the article was written more than a year before the theft incident.
01:28:32At that time, the real thing was in Louvre.
01:28:36It was something that no one could have predicted.
01:28:40There is no profit in writing a fake article.
01:28:44At that time, Marques was already planning to steal the Monalisa.
01:28:48It's not strange to buy a newspaper and write an article.
01:28:52But why do you need to fabricate the article?
01:28:56When the article was published, Louvre did not publish the back of the Monalisa.
01:29:02At that time, Marques did not know what the back of the Monalisa was like until he stole it.
01:29:08That's why he had to leak the false information in advance.
01:29:14If so, Louvre will realize it's a lie.
01:29:18It's strange that he doesn't react.
01:29:20Louvre kept the back of the Monalisa a secret.
01:29:23It was to prevent a fake from being made.
01:29:26When Marques saw the fabricated article, he engraved 1503 on the back of the original work.
01:29:30If so, Louvre will know whether it's a real thing or a fake.
01:29:35That's why he didn't react.
01:29:37But once the real thing was stolen, everyone believed that the fake was the real thing.
01:29:45The world fell in love with Marques' plan.
01:29:50No...
01:29:53He and you, too.
01:29:55No! You don't know anything!
01:30:00No...
01:30:21Ryusenji, I didn't expect you to do this.
01:30:26Where is the Monalisa?
01:30:29Where did you put it?
01:30:41Mr. Ogasawara, where are you now?
01:30:45Hello? I'm chasing the Monalisa.
01:30:49The Monalisa?
01:30:51What happened to the Monalisa?
01:30:53What happened to the Monalisa?
01:30:57Mr. Ogasawara?
01:30:59Mr. Ogasawara!
01:31:01What happened?
01:31:03Mr. Ogasawara, where are you?
01:31:13I knew it was you.
01:31:15We're going to burn this painting to restore the truth we've been talking about for too long.
01:31:23Meservoir et Tableau?
01:31:33They're trying to burn the Monalisa.
01:31:37They're crazy!
01:31:39Mr. Ogasawara, where is the Monalisa?
01:31:42We didn't do anything wrong!
01:31:48Can't you locate the perpetrator?
01:31:50No, it'll take time.
01:31:53I'll do it.
01:32:05We're ready.
01:32:07What do we do with him?
01:32:09I have an idea. Let's bring him in.
01:32:1420 minutes after Mr. Ogasawara's death.
01:32:1747 seconds.
01:32:24The Monalisa
01:32:27Hello? I'm listening to the Monalisa.
01:32:30That sound...
01:32:35That music...
01:32:39The music for the masking.
01:32:41What?
01:32:43The music for the masking of the high-speed motor.
01:32:46I'm sure it's in the elevator.
01:32:49What?
01:32:51Look for 40 or more high-speed buildings within 20 minutes from here.
01:32:55How do you know that?
01:32:57Let's trust Kano.
01:32:59But...
01:33:00This is a global crisis!
01:33:02That's the only way!
01:33:0547 seconds after Mr. Ogasawara's death.
01:33:0840 or more high-speed buildings within 40 seconds.
01:33:1120 minutes after Mr. Ogasawara's death.
01:33:1440 or more high-speed buildings within 20 seconds.
01:33:17Look for 40 or more high-speed buildings within 20 seconds.
01:33:27Are we going to hit all of them?
01:33:29It's going to take too long.
01:33:34The button...
01:33:44button!
01:33:46That sound...
01:33:50No, I didn't hear that.
01:33:56Eighty minutes after Mr. Ogasawara's death.
01:33:59You were saved by that man and fell in love with him, weren't you?
01:34:26Please head to the Resistance Hotel.
01:34:28Resistance Hotel?
01:34:30Not a high-rise building?
01:34:32It's a place where you can squeeze in whatever you want.
01:34:34Let's go.
01:34:38What's going on?
01:34:40The buttons on Misa's jacket,
01:34:42and the buttons on Sabin-Road's Order Maid,
01:34:44each one has a slightly different pattern.
01:34:46They're made of the same water-based material,
01:34:48so you can hardly tell by their appearance,
01:34:50but they're substituted for similar-shaped buttons.
01:34:52If you replaced them yourself, you'd have to get the same one from the tailor.
01:34:55There's only one place in Japan
01:34:57that has such a substitute.
01:34:59It's the Resistance Hotel.
01:35:03Misa-san and Bren were at this hotel last night.
01:35:05Please show me the garbage in the guest room.
01:35:07Garbage? Why?
01:35:09The Resistance Hotel stores garbage for 24 hours.
01:35:11No, first look at the guest room.
01:35:13Please listen to me.
01:35:17Show me the garbage place.
01:35:19The garbage place?
01:35:21Where?
01:35:25There!
01:35:29All right, we're done with the 16th floor.
01:35:41There it is!
01:35:55We've reached the end of our mission.
01:36:25We couldn't find anything.
01:36:27We can't stop the search.
01:36:29Hurry!
01:36:47You serve as a witness to this historic moment.
01:36:55Where is it?
01:37:03Where is it?
01:37:05Where is it?
01:37:09Kachidoki.
01:37:11Kachidoki.
01:37:13Kachidoki.
01:37:15Kachidoki.
01:37:19Most of the garbage is in Kachidoki.
01:37:21Kachidoki?
01:37:23There's a skyscraper in the center of Kachidoki.
01:37:27Where's the other team?
01:37:29Give me a map.
01:37:31Yes, sir!
01:37:45High Towers, Kachidoki.
01:37:47It's here.
01:37:49Let's go!
01:37:53Let's go!
01:38:23Let's go!
01:38:53Let's go!
01:39:23Let's go!
01:39:53Kachidoki.
01:39:55Kachidoki.
01:39:57Kachidoki.
01:39:59Kachidoki.
01:40:01Kachidoki.
01:40:03Kachidoki.
01:40:09Kachidoki.
01:40:11Kachidoki.
01:40:13Kachidoki.
01:40:15Kachidoki.
01:40:21It's the High Towers!
01:40:23No way.
01:40:25Let's go!
01:40:27Oh
01:40:57Oh
01:41:27Oh
01:41:57Oh
01:42:27Oh
01:42:57Give me
01:43:27Oh
01:43:57You don't know nobody
01:43:59I'm not there. What's that mean? He's got it. I don't know what you want
01:44:04Thank you, this is Conqueror no sooner than one of the children
01:44:11Somebody
01:44:14Karev home on the Mona Lisa
01:44:19Do you
01:44:21Do
01:44:25He says I'm not gonna suck on you could make you much needs to get on there
01:44:32Karev, I'm not a damage to the kitty
01:44:36Kona you may I stand on
01:44:38One more no much said a minute you can't go see
01:44:41Oh
01:45:11I
01:45:19Couldn't eat it, I said
01:45:23Yokohama
01:45:25Cool. I'm a stupid egg. Thank you. I'll come out
01:45:28And I don't have to be that's your night. Yeah, I'll be nice
01:45:33No, you did
01:45:36Doodle it must call it a hole this
01:45:41You
01:46:03What Monday I'm Julie back to let it up from say pull a joke on
01:46:11Oh
01:46:24Yeah, I'm not afraid
01:46:28They won't let me pray, okay
01:46:33Yeah, we got
01:46:41Oh
01:46:57That terminate
01:47:11Oh
01:47:41I
01:48:11Oh
01:48:23Kono yo nanko
01:48:26Nisa Mono, not the commercial unit
01:48:32Such a new addition to obtain a scene. It's got a dog. He might have a more
01:48:41Nothing you're gonna make a show
01:48:47What does she want
01:48:50Kono Kokoro can't do so
01:48:58I'm not gonna give you to ice to the kimochi. Thank you. She needs that. Okay. She's dead
01:49:12I
01:49:17Don't wanna go out of that. Oh god, I mean sir
01:49:19So they come back I did you know, what did I say?
01:49:22Rambo, you put it up. Come on. Yeah, I don't know. I don't want to make a mistake. No, sir
01:49:27I don't want to do this
01:49:34Scotch not you can do this
01:49:36But I still kind of do they hold my knowledge my enemies
01:49:39So that I can't see John you can't I stick with us
01:49:47That's me, that's got gone
01:49:58On Monorail and you can't smash
01:50:03So that I'm not done
01:50:06On Ton-no-no-no-no-no-no-no
01:50:14What is your son
01:50:35Oh
01:51:01What does she mean what I thought
01:51:06Oh
01:51:16All right, this one
01:51:35It's a lot
01:52:05I
01:52:20Don't go cutting my time
01:52:24You shouldn't you can't do so much on it
01:52:35I
01:53:05You
01:53:19As I said, I'm gonna say you don't have to get it. You can't get it. I'm gonna stop
01:53:24being this
01:53:26What does she want a party? I don't miss it. I'm not gonna
01:53:29Oh
01:53:31What's up, I'm Omega I'm all this time, isn't it?
01:53:35Okay, it's a little
01:53:37Easy, I think I thought it'd be easy to go. I get up. I'm not gonna do this. Hey, she told me how she made it
01:53:44You got that is
01:53:47I don't know what
01:53:50You know, it's done
01:53:53Cute it do it
01:53:55You don't know can I done this
01:53:57How did it show cute and clean the show
01:54:03Was she a massive
01:54:09Nani go question is
01:54:12It's more than in the sun you moderate. I don't got that at all
01:54:19Sticks
01:54:27Oh
01:54:29Well, they're gonna miss it
01:54:33Mona Lisa, I'm gonna do can you not come on it? Don't know my the book or I'll meet it in the show. Yeah
01:54:41Almost you don't have fun. Yeah, so this
01:54:46I keep saying this girl
01:54:49Cora
01:54:57I
01:55:27You
01:55:57You
01:56:27You
01:56:57You
01:57:27You
01:57:57You
01:58:27You
01:58:57You