Claude Monet, weary of painting haystacks and cathedrals and lily ponds, finally pursues his real passion: criminal investigation. And after two long months of waiting, he has his first case. He’s called in to investigate the theft of two unremarkable paintings from Galerie Neuf in Paris. He’s thrilled, but quickly finds out that the theory and practice of investigation are two different things. Despite the obstacles, he’s determined to crack the case and bring the perpetrator to justice. Only then will he be taken seriously as a private eye. Only then can he start spending less time at the easel and more time looking into crimes, mysteries, and nefarious activities. He’s got what he needs to succeed: unsurpassed observations skills, an active imagination, and a tendency to mangle metaphors. He just needs to assemble the pieces to form a coherent composition―preferably one not involving water lilies.