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00:00:00To be continued...
00:01:32Yes.
00:01:33Well, he had something.
00:01:35He had the depth and perspective.
00:01:37Well...
00:01:38You don't get the modern...
00:01:40This is modern.
00:01:43Yes, yes, yes.
00:01:45That happened to be a man that I knew.
00:01:48Yes.
00:01:49If he was...
00:01:50Think right again.
00:01:52Silly.
00:01:53He's painting the magnificent idea.
00:01:55You should have seen it.
00:01:56Oh, David.
00:01:57David.
00:01:58Yes.
00:01:59He had something.
00:02:02Quite impossible, Mr. Robson.
00:02:09You know I was commissioned to buy the Eve from the National Collection.
00:02:12The deal's already gone through with the Chateau de Golderode.
00:02:15The purchase money's already been paid.
00:02:17How much?
00:02:18Well, the papers said about 80,000.
00:02:20I should say that was it.
00:02:22I'm afraid the government's beaten you to it this time.
00:02:25It's Bill Robson, the oil king.
00:02:26Very put out because he can't get the Eve.
00:02:28Hmm?
00:02:29Why not the labourer in the vineyard?
00:02:31For a mere 55,000, you'll have the only worthwhile Van Mirbeck in private hands.
00:02:36Mr. Robson, why not come over and see the painting?
00:02:40You will?
00:02:41Good.
00:02:42Good.
00:02:43All right.
00:02:44Till then, Mr. Robson.
00:02:45Goodbye.
00:02:47You're doing fine, Arnold.
00:02:49Oh, you enjoyed the show, Max.
00:02:51You know, it was Vicky's idea to get permission to exhibit the Eve before it went to the National Gallery.
00:02:55Wonderful publicity.
00:02:56Fine, Arnold.
00:02:57There's only one thing wrong.
00:02:59What's that?
00:03:00I mean, the Eve you are showing is a fake.
00:03:03A brilliantly executed copy down to the minutest cracks in the canvas, Arnold.
00:03:09A work of genius in its way, but a forgery.
00:03:12You're joking, Max.
00:03:13You yourself authenticated the picture before I put the deal through.
00:03:16Good heavens, man.
00:03:17You list it in your book on Flemish paintings.
00:03:19I authenticated the picture that hung and shattered the Gale of Horde.
00:03:23Not this one.
00:03:24The only thing genuine here is the frame.
00:03:27How can you be so sure?
00:03:29The forgers can copy most things.
00:03:32But certain colors used by the old masters just cannot be reproduced today.
00:03:37There are just no modern equivalents.
00:03:40But if you're right, I could be ruined.
00:03:42There's £80,000 worth of public money involved.
00:03:45If this gets out, it could cause an international scandal.
00:03:48That is your problem.
00:03:50My only concern is that this is not a Van Merbeck,
00:03:53and I am not going to allow it to be exhibited as such.
00:03:58Now, listen, Max.
00:03:59It's your opinion against mine.
00:04:01I, too, have a reputation in the art world, and I'm going to fight for it.
00:04:04I'll have that picture independently examined,
00:04:06and when it's been authenticated, I'll prove you're wrong.
00:04:08Reputation.
00:04:09Ha!
00:04:10Arnold, you're in real trouble.
00:04:12How dare you...
00:04:13I've told you only a fraction of what I know.
00:04:15I have been collecting evidence for a book on art frauds.
00:04:18That picture of yours is only one of the surprises I have for you.
00:04:22I have enough evidence to blow the lid off quite a few rackets in the art world.
00:04:26And I don't give a damn whether you and your artistic friends like it or not.
00:04:38What's wrong with dear old Aronson?
00:04:39What isn't?
00:04:40I've just had the damned evidence to say the eaves are fake
00:04:43and as good as accuse me of deliberate fraud.
00:04:45He must be mad.
00:04:46Mike, you're young, but you're one of the best restorers in the business.
00:04:49Now, tell me this is preposterous.
00:04:51Of course.
00:04:52Still, it is old Aronson.
00:04:54And you know the weight he carries.
00:04:57Something will have to be done.
00:04:59Yes, but what a mess just as everything was going so right.
00:05:02Well, Vicky, what's it going to feel like being married to a fraud?
00:05:05Nonsense.
00:05:07I marry the straightest dealer in the world.
00:05:10Don't worry about Aronson.
00:05:12He can't prove anything against you.
00:05:14You're right, Vicky.
00:05:16I've got nothing to hide.
00:05:17I'll fight him no matter what he does.
00:05:19Listen, Mike, I want your help with this.
00:05:21We'll get that picture done
00:05:22and we'll give it every known laboratory test.
00:05:24I'll bet you.
00:05:25I'll bet you.
00:05:26I'll bet you.
00:05:27I'll bet you.
00:05:28You'll bet you.
00:05:29THE END
00:05:59THE END
00:06:29THE END
00:06:58THE END
00:07:00THE END
00:07:02THE END
00:07:04Good morning. I have an appointment with Mr. Aronson. My name is Genevieve Bourgeon from Paris Post.
00:07:11I am afraid Mr. Aronson is not at home. Then I will wait. But miss, mademoiselle, I have no idea when Mr. Aronson will be back. That doesn't matter. I don't mind waiting.
00:07:23Very well, mademoiselle.
00:07:29If you will wait here, I will do my best to contact Mr. Aronson. Thank you.
00:07:39Good morning.
00:07:41Good morning.
00:07:43Good morning.
00:07:45Good morning.
00:07:47Good morning.
00:07:51Good morning.
00:07:53Good morning.
00:07:55Good morning.
00:08:21Hello.
00:08:25Who are you?
00:08:26Who are you?
00:08:27Peter Sharkey.
00:08:29Genevieve Bourgeois.
00:08:32Sorry. Sorry.
00:08:37What are you doing here?
00:08:38I'm waiting for Mr. Arnolson.
00:08:40I see.
00:08:42What for?
00:08:43To interview him.
00:08:45Oh, you must be the reporter.
00:08:49Photographer.
00:08:51What paper?
00:08:52Barry's Post.
00:08:54It's a magazine.
00:08:58Well, I am very sorry, Miss...
00:09:02Bourgeois.
00:09:04Miss Bourgeois, but I'm afraid I cannot allow any interviews with Mr. Arnolson.
00:09:10You cannot...
00:09:11You? Who are you?
00:09:13Detective Inspector Sharkey, Scotland Yard.
00:09:17You are here about the painting?
00:09:20Yes.
00:09:21And I want to have my talk with Mr. Arnolson without the attention of flashbulb fiends.
00:09:26Do you mind?
00:09:32Mr. Arnolson's residence?
00:09:35Oh, hello, Johnny. It's you.
00:09:39What?
00:09:40I see.
00:09:41Uh-huh.
00:09:46Well, had he a folio on him.
00:09:50A folio, a big notebook.
00:09:53Well, then it must be around here somewhere. I'll have a look for it here.
00:09:56All right, okay.
00:09:58Bye-bye.
00:10:00Well, you've had your interview.
00:10:03No, I have not.
00:10:05Your interview has had it.
00:10:07Mr. Arnolson will not be able to see you. He's dead.
00:10:10No.
00:10:11Why? What happened?
00:10:13Knocked down in the street by a hit-and-run car.
00:10:16An accident?
00:10:17Yes.
00:10:19Just another accident.
00:10:21Isn't it odd that he should have died so soon?
00:10:24Odd?
00:10:25Yes, that he should have died so soon after exposing the fake.
00:10:28Well, thank you.
00:10:29Thank you very much, Miss Bojan. You've been very helpful. Thank you.
00:10:31Well, thank you.
00:10:53Inspector.
00:10:54Thank you very much.
00:11:24If only I had the eve to go with this.
00:11:38What a pair they'd make, Arnold.
00:11:41Beauty and the Beast.
00:11:43Arnold.
00:11:45I want that painting.
00:11:47I don't care what you do or how you go about it.
00:11:49Excuse me, Mr. Robson.
00:11:52Who?
00:11:53No, I'm sorry. It's impossible for me to give interviews on that subject.
00:11:56The whole matter's in the hands of the police.
00:11:59Mr. Wolfe, do you know that Max Arnolson is dead?
00:12:05Arnolson dead?
00:12:07But how?
00:12:09It was apparently a street accident.
00:12:11He was knocked down by a car.
00:12:13Knocked down by a car?
00:12:15I would be very grateful if you would say a few words for my magazine.
00:12:19You know, something to the effect of the great loss of the art world.
00:12:23Yes, yes, I suppose I should.
00:12:25Perhaps you would come over straight away.
00:12:26I'd like to hear more about this matter.
00:12:29Merci, Monsieur.
00:12:31Arnolson, eh?
00:12:37That's the guy who spotted the fake.
00:12:39So they think it's a street accident.
00:12:42Funny, I thought that you might have bumped him off, Arnold.
00:12:46Sorry, I'm a bit bad at jokes these days.
00:12:48Max Arnolson was a very great man, no matter what I thought about him personally.
00:12:52He was the greatest expert on Flemish painting.
00:12:54And he did a great public service in exposing the fake div.
00:12:57Mm-hmm, but not a great public service to our friend, Arnold Wolfe.
00:13:00Come on, that stuff's all right for the papers.
00:13:03But we all know this puts you into quite a bit of trouble, Arnold.
00:13:06I'm not avoiding the issue or dodging my responsibilities, Mr. Robson.
00:13:10I'm just as anxious as the police are to get this matter cleared up.
00:13:13Come on, what really happened?
00:13:17Who's got the original Eve?
00:13:20Somebody must have it and that somebody must be a collector.
00:13:24I'll buy it from him, whoever he is.
00:13:28You know, I'm crazy about old masters and I...
00:13:32I've never been too finicky in my business methods.
00:13:35What do you think, Arnold?
00:13:37Please, Mr. Robson, this is all in extremely bad taste.
00:13:43I'm sorry, Mr. Robson, I'm sorry.
00:13:45Don't this go.
00:13:46But you can't see me coming in the air.
00:13:47You need to be a collector like Tywin.
00:13:48In the sea.
00:13:49I'm sorry.
00:13:50I'm sorry.
00:13:51Again, I'm sorry.
00:13:52I'm sorry.
00:13:53I'll break you something quickly.
00:13:54Why would you step back to your seats?
00:13:55I'm sorry.
00:13:56Here's your seat.
00:13:58I'm sorry.
00:13:59I came here.
00:14:00I came here.
00:14:01I came here.
00:14:02I came here.
00:14:03I came here.
00:14:05My boy.
00:14:06I came here.
00:14:07I came here.
00:14:08I came here.
00:14:09I came out.
00:14:10Can I help you?
00:14:23Yes, I have an appointment with Mr. Wolfe.
00:14:26Mr. Wolfe is engaged at the moment.
00:14:28In fact, he is engaged for the rest of the day.
00:14:31But he told me in the form that he wishes to see me right away.
00:14:33Would you please tell him that Genevieve Bourgeon is here?
00:14:36I'm afraid I cannot disturb him under any pretext.
00:14:40Do you mind if I take some photographs of the gallery?
00:14:45You would have to ask Mr. Wolfe's permission for that.
00:14:47Then perhaps you would tell Mr. Wolfe not only that I'm here,
00:14:50but that I wish to take some photographs.
00:14:57Hello, hello. What have we got there?
00:14:59An early millet.
00:15:01How much would that pretty number run me to, Vicky?
00:15:04The painting?
00:15:05Oh, about 15,000, Mr. Robson.
00:15:07Cheap at the price.
00:15:10Ah, Mr. Wolfe.
00:15:13My name is Genevieve Bour...
00:15:14No, this is Mr. Robson, the well-known art collector.
00:15:16Bill Robson, the one and only.
00:15:17This is Mademoiselle Beaujean, a French journalist.
00:15:20Bonjour, mademoiselle.
00:15:22Excuse me. I'll see if Mr. Wolfe is free now.
00:15:28Who is that woman?
00:15:29She doesn't seem to like me.
00:15:30Well, you better be careful.
00:15:31That woman, mademoiselle, is Mrs. Wolfe.
00:15:34Oh, mon Dieu.
00:15:35That won't help me to get my story.
00:15:37Say, you're the girl who rang up about the death of Aronson.
00:15:41You know, he really threw my old pal Wolfe into a flat spin.
00:15:44How did you get on to it?
00:15:46I was in Aronson's house for an interview.
00:15:50When there was a message from Scotland Yard, and voila, my interview goes for our Guinness.
00:15:58I would like to get a story from Mr. Wolfe.
00:16:01You know, I got an idea.
00:16:04I just bought a van Mierbeek, the laborer in the vineyard.
00:16:07I'm throwing a cocktail party tomorrow to celebrate the happy event.
00:16:11Come along and be my guest.
00:16:13You'll meet Wolfe and everybody who's anybody in the art world.
00:16:16Yes, that would be wonderful.
00:16:18Merci bien.
00:16:20Oh, no.
00:16:21Not the flashball fiend again.
00:16:24Hello.
00:16:24How are you?
00:16:25Oh, I'm sorry.
00:16:26This is Mr.
00:16:27Bill Robson.
00:16:27Mr.
00:16:28Inspector Sharkey.
00:16:30Nice to meet you.
00:16:32The oil man?
00:16:33That's right, Inspector.
00:16:34Well, what are you doing here?
00:16:36I'm just going to see Mr. Wolfe.
00:16:38Well, I'm sorry, but this is one of the occasions in which it's a gentleman first.
00:16:43You big barbarian.
00:16:44You're impossible.
00:16:46I am, you know.
00:16:48Excuse me.
00:16:49Now, don't forget tomorrow night.
00:16:50Shall we say about seven o'clock?
00:16:53Oh, Inspector, would you care to come to this shindig I'm throwing tomorrow night?
00:16:58I'm unveiling an old master I've just bought.
00:17:02A real one?
00:17:03Yes.
00:17:04You must come.
00:17:05And to make up for your rudeness, you must escort me.
00:17:08I'll be delighted.
00:17:10That's a date.
00:17:11Hotel Majestic.
00:17:12Hotel Majestic.
00:17:12You see, the British police are really quite wonderful.
00:17:15Now, you must excuse me, mademoiselle.
00:17:16Well, I have to see a sheik about an oil well.
00:17:22Mr. Wolfe will see you now.
00:17:23Oh, no, just a moment.
00:17:24No, I think he wants to see me first.
00:17:27Oh.
00:17:28Are you Mr. Wolfe?
00:17:37I am.
00:17:38My name is Sharky, Inspector Sharky, Scotland Yard.
00:17:41I'm in charge of the investigations into the Van Mirbeck painting.
00:17:44I'm sorry to walk in on you like this, but this business is becoming more serious.
00:17:49You mean Aronson's death?
00:17:51Well, now, how did you know about that?
00:17:53Oh, I was phoned up by that reporter outside.
00:17:55Hmm.
00:17:56She didn't waste much time.
00:17:58You have a seat, Inspector.
00:18:02What you may not know is that Aronson's private notes have disappeared.
00:18:06He used to keep them in a big folio.
00:18:09Do you remember it?
00:18:10I do.
00:18:11He told me he had enough evidence in it to blow the lid off quite a few rackets in the art world.
00:18:15I wonder what he meant by evidence.
00:18:17Did he know who stole the real Eve and did the switch?
00:18:20Did he know who painted the fake?
00:18:22I really can't say, Inspector.
00:18:26My first reaction was that he was bluffing, that he had invented the whole thing.
00:18:30But you now think that he may have known something.
00:18:33Aronson had an unrivaled knowledge of brushwork and technique.
00:18:37He may have spotted something in the fake he thought he recognized.
00:18:40A characteristic style or use of color, perhaps.
00:18:44Assuming that he did know something, don't you think it's rather strange that he should have had a fatal accident?
00:18:48Before he could pass on the information.
00:18:52Before he could pass on the information.
00:18:52Ah, let me see.
00:18:54Oh, my God!
00:19:10Let me know.
00:19:14Look!
00:19:15Mr. Wolfe, you acted as sole purchasing agent between the Chateau de Gelderod people
00:19:42and the directors of the National Art Fund.
00:19:44I did. It was a very great honor, the pinnacle of my career.
00:19:48So except for you and the Chateau de Gelderod people, no one else actually had the picture in their possession at any time?
00:19:54Only the Belgian shipping firm who crated it and sent it to London.
00:19:57Well, the picture, I am told, traveled from door to door in Bond.
00:20:00There were always two customs officials with it.
00:20:02Are you suggesting that something went wrong in transit?
00:20:04I don't see how that could be possible, Inspector.
00:20:06Then the genuine picture must have been replaced by the fake at one or other of two places,
00:20:10either at the Chateau in Belgium or here, in your gallery.
00:20:13Not here, Inspector.
00:20:14The switch must have taken place at the Chateau after the deal was completed.
00:20:19There's been no break-in at the gallery and only my wife and I have keys.
00:20:25Precisely.
00:20:44Mike!
00:20:57Mike!
00:20:57Vicky!
00:20:58Mike, I just had to come and see you.
00:21:00I didn't dare risk phoning.
00:21:01Why?
00:21:02What seems to have gone wrong?
00:21:03Mike, you must help me.
00:21:04You must.
00:21:04That man's sharky.
00:21:05I'm afraid he's been...
00:21:06Please stop worrying, Vicky.
00:21:07I'd do anything in the world for you, you know that.
00:21:14Excusez-moi, monsieur.
00:21:15And Mrs. Wolfe.
00:21:17Oh, I'm sorry for intruding, but the door was open, so I just came in.
00:21:21I am very anxious for an interview.
00:21:24Well, perhaps later.
00:21:25I have an appointment.
00:21:26This is Mademoiselle Beaujean, Mike, a journalist, who doesn't know the meaning of the word no.
00:21:31You might as well see her now.
00:21:32I'm leaving.
00:21:33Talk to you late about that matter.
00:21:35I'm leaving, sir.
00:21:55Evening.
00:21:55Good evening, sir.
00:21:56Miss Beaujean in?
00:21:57She's expecting me.
00:21:59Inspector Sharky.
00:22:05I know Miss Beaujean's in.
00:22:07In fact, a gentleman just went up, said he was expected.
00:22:10Oh?
00:22:11What sort of a gentleman?
00:22:12Well, Inspector, not quite the sort of gentleman we get here as a rule.
00:22:16Of course, I know Miss Beaujean is a journalist.
00:22:18Must meet all sorts of people.
00:22:22That's funny.
00:22:24Phone seems to be off the hook.
00:22:27I thought I heard something like a cry.
00:22:28What number's her room?
00:22:29Number 15.
00:22:30Which floor?
00:22:30First floor.
00:22:35Mr. Harvey, Mr. Harvey, quickly.
00:22:53Harvey.
00:22:54Get me, Scotland Yard.
00:22:54Quick.
00:23:05Are you all right?
00:23:14Who was he?
00:23:16I don't know.
00:23:17Do you know him?
00:23:18What did he want?
00:23:20He said,
00:23:21I must stop trying to find out about the art scandal.
00:23:25Go away.
00:23:27That wasn't a bad idea.
00:23:29You're running far too great a risk
00:23:32just for a magazine article.
00:23:34Genevieve, there has already been one murder.
00:23:39So you agree about Aronson?
00:23:42I just don't want anything to happen to you.
00:23:45Now, why don't you drop the whole thing
00:23:47before you get hurt?
00:23:50I wish I could say yes.
00:23:54But you know what I'm like.
00:23:56I'm stubborn.
00:23:58Like a mule.
00:23:59Come on.
00:24:12Why don't you get ready for the party?
00:24:17Come on.
00:24:18Come on.
00:24:20That's better.
00:24:22I'll leave for you downstairs.
00:24:23I'll leave for you downstairs.
00:24:24Come on.
00:24:24Come on.
00:24:26Come on.
00:24:27Come on.
00:24:27Come on.
00:24:27. . .
00:24:47Mike Lucas, I think you know Miss Beaujohn, Inspector Sharkey.
00:24:51How do you do?
00:24:51How do you do?
00:24:52Sorry we're so late, Mrs. Wolfe.
00:24:54We had a little bit of a hold-up.
00:24:55Yes, the traffic is a bit of a bore, isn't it?
00:24:57Yes.
00:24:58Would you excuse us?
00:25:01I hope the new painting is going to be a success, Mr. Robster.
00:25:03I'm sure it will, Arnold.
00:25:04I'm sure it will, man.
00:25:05Nothing to worry about.
00:25:06I see our friend the Inspector's just arrived.
00:25:09You know?
00:25:10Yeah.
00:25:11He's not the man I take liberties with,
00:25:13but his partner Genevieve.
00:25:16I like to take a lot of liberties there.
00:25:19Come on, let's say hello.
00:25:22Oh, something wonderfully degrading in drinking a millionaire's martini, don't you think?
00:25:29Don't know.
00:25:30Oh, you're so brilliantly inarticulate.
00:25:33You are anti-art, of course.
00:25:36Don't know.
00:25:37Or more.
00:25:38Almost a minute.
00:25:41And how's the story coming along?
00:25:42Are you getting any cooperation now?
00:25:44The cooperation is wonderful.
00:25:48Mr. Lucas, what do you do?
00:25:51Oh, I give old musters a bit of a dry cleaning.
00:25:53You know, try to make them look like new.
00:25:55So you knew Aronson?
00:25:56Well, everybody did in our line of business.
00:25:59Sort of ghastly father figure.
00:26:01I believe he was on his way to your place when he met with that accident.
00:26:04Yes, so it seems.
00:26:06I was doing a spot of work at the time.
00:26:08I did hear a car engine revving up, but that's only enough I must have dismissed it.
00:26:11It came as quite a shock when I heard the news.
00:26:14Yes.
00:26:15Must have done.
00:26:16I see your little mademoiselle's made quite a hit with our host, Mr. Robson, Inspector.
00:26:21Yes.
00:26:23What kind of a painting did he buy from you, Mr. Wolfe?
00:26:26Van Mervek.
00:26:27Oh, it's quite right.
00:26:28This one's quite genuine, I can assure you.
00:26:30You know, even after all this trouble about the eve, my clients have complete faith in me.
00:26:34Perhaps you'd like to see the painting.
00:26:36Come on, everybody.
00:26:37Mr. Robson.
00:26:41I think everybody's anxious to see your new acquisition.
00:26:44All right, gather round, everybody.
00:26:46Let's have a look at it, huh?
00:26:47Voila, the laborer in the vineyard.
00:26:55Well, what do you think of it, Inspector?
00:26:57Well, I'm no judge of art.
00:27:00But you know what you like.
00:27:01Well, I can see that it is a terrific work of art.
00:27:06Yes, I dare say it as some substance of talent.
00:27:09Come on, but Mike, you can't dismiss a Van Mervek like that.
00:27:12If it is a Van Mervek.
00:27:19Exactly what do you mean?
00:27:20Oh, forget about it.
00:27:21I'm sorry I spoke.
00:27:22Oh, no, Mike.
00:27:23We can't let it go like that.
00:27:24You're not surely suggesting that this picture's a fake?
00:27:27I'm sorry, Arnold, but there's something not quite right about it.
00:27:31Look, I'm no Aronson in this matter, but this detail here.
00:27:34I'd swear there's been some overpainting there.
00:27:37Yes, and here too.
00:27:39And down here.
00:27:40By God, if somebody's trying to double-cross me, he'll pay for it.
00:27:42Well, now, gentlemen, do not let us lose our heads.
00:27:45I'm quite sure that if there is any doubt about the picture,
00:27:48that Mr. Wolfe will arrange to have it scientifically tested by independent experts.
00:27:53I shall insist on it.
00:27:55We'll have the painting x-rayed and tested tomorrow.
00:27:57All right.
00:28:03That was a lot of nonsense that Mike was saying.
00:28:06As far as the money's concerned, Mr. Robson, if the painting is a fake,
00:28:08and it can't be, I'll refund you every cent of your 55,000 pounds.
00:28:12I no doubt that you will, Arnold.
00:28:14No.
00:28:17Not for one minute.
00:28:32Just another coincidence?
00:28:43X-rays are absorbed in varying degrees by the different pigments.
00:28:47Where you see the shadows, there's been another layer of pigment.
00:28:51In other words, overpainting.
00:28:52Oh, yeah.
00:28:53But there's no doubt, however, the picture is a genuine van Mervic.
00:28:56Of course, the overpainting can be removed quite easily these days,
00:28:59with no damage to the original.
00:29:01Well, thank heavens for that.
00:29:02That's a relief.
00:29:03Relief is right.
00:29:0455,000 pounds worth.
00:29:06Still, you always have been square in your dealings with me, Arnold,
00:29:10and I want to be the first to apologize for ever doubting you.
00:29:13Don't mention it, Bill.
00:29:15After all, Mike was right in suspecting that something could be wrong.
00:29:18Yes, but why should someone want to touch up the painting?
00:29:22Perhaps someone's trying to ruin me, Inspector.
00:29:25Yes, that's a thought.
00:29:27Well, I'd better be getting back to the yard.
00:29:29I'm glad everything's turned out satisfactorily.
00:29:31I'll show you out.
00:29:33Goodbye, all.
00:29:34Goodbye, Inspector.
00:29:40Thank you very much, Mrs. Wolfe.
00:29:43Where's Genevieve?
00:29:44She was called to the phone a moment ago.
00:29:46Said she had to hurry off.
00:29:47Something to do with her office.
00:29:48I see.
00:29:49Well, I'd better be off, too.
00:29:50Goodbye.
00:29:51Thank you very much.
00:29:52What's your hurry?
00:29:53The man who attacked Genevieve.
00:29:54Yes?
00:29:55We found him.
00:29:56Where?
00:29:57He's dead.
00:29:58Come on.
00:30:10I've had the lab boys here, sir.
00:30:36They've checked everything.
00:30:37Find anything?
00:30:38No, nothing, sir.
00:30:39Wait outside.
00:30:41And don't let anyone come in.
00:30:43Very good, sir.
00:30:44You can call off the hunt for the man who attacked Genevieve and me.
00:30:54Yes, sir.
00:30:55His fingerprints match those on the knife we caught from Miss Bourgen's hotel.
00:30:58Well, who is he?
00:30:59Professionally known as Frenchman Jack.
00:31:01He's got an Interpol record as long as your arm.
00:31:04I see.
00:31:05Hello.
00:31:06They didn't check everything, did they?
00:31:08Well, now, isn't this interesting.
00:31:12Van Mirbeck's Eve.
00:31:15Oh.
00:31:16No stamp.
00:31:17Bought in Belgium at the Chateau de Gelderod.
00:31:23So, Frenchman Jack was interested in art.
00:31:24That bears out what Genevieve was saying about this man being involved.
00:31:26You didn't find out anything else that would help to establish his contacts?
00:31:27Any letters, hotel bills, private papers of any sort?
00:31:28Nothing, sir.
00:31:29Whoever shot him whipped everything that might be useful.
00:31:30Did they?
00:31:31Yes, sir.
00:31:32Anyone see anything?
00:31:33Or hear anything unusual?
00:31:34No, sir.
00:31:35No, sir.
00:31:36A complete blank so far.
00:31:37You know, the murderer could have taken the opportunity of a passing train.
00:31:40No one would hear the shot.
00:31:42I thought I told you not.
00:31:43Genevieve.
00:31:44How on earth did you get onto this?
00:31:45Someone rang our London agency and said there was a story here.
00:31:46Oh, all right.
00:31:47Come in.
00:31:48All right.
00:31:49Come in.
00:31:50All right.
00:31:51Come in.
00:31:52All right.
00:31:53Come in.
00:31:54Yes, sir.
00:31:55Yes, sir.
00:31:56Anyone see anything?
00:31:57Or hear anything unusual?
00:31:58No, sir.
00:31:59A complete blank so far.
00:32:00You know, the murderer could have taken the opportunity of a passing train.
00:32:03No one would hear the shot.
00:32:05I thought I told you not.
00:32:07Genevieve.
00:32:08How on earth did you get onto this?
00:32:10Someone rang our London agency and said there was a story here.
00:32:14All right.
00:32:15Come in.
00:32:16Now, look.
00:32:17I thought I told you to let no one in.
00:32:18Let no one else in.
00:32:19Do you understand that?
00:32:20Right, sir.
00:32:22Yes, it is.
00:32:23It's the man who attacked me, no?
00:32:25It's the same man.
00:32:26Excuse me, miss.
00:32:27Did your agency try to trace who put the call through?
00:32:30No, they didn't bother.
00:32:31They get so many calls.
00:32:33All right, Johnny.
00:32:34We'll check on that later.
00:32:36But meanwhile, shall we try and find out something about Frenchman Jack's contacts and movements?
00:32:43Yes, sir.
00:32:46No pictures.
00:32:48No stories at all at the moment.
00:32:51Have you any idea who the murderer might be?
00:32:55Well, suppose you tell me for a change.
00:32:58Well, I think that the man who murdered Aronson also murdered this man.
00:33:04For the same reason.
00:33:06Because he knew too much.
00:33:09Brilliant, Mademoiselle Sherlock.
00:33:11Now all we have to do is find the man.
00:33:15Masterly.
00:33:16No clues?
00:33:17No.
00:33:18Except this.
00:33:21Where did you get this?
00:33:23From our knife-slinging pal.
00:33:24It's a bad reproduction, but it is Van Mierbeck's Eve.
00:33:33Well, well, good afternoon, Mrs. Wolff.
00:33:48Hello, Inspector.
00:33:49Anything new?
00:33:50Oh, well, you know how things are progressing.
00:34:02Yes.
00:34:03Yes.
00:34:04All right.
00:34:05Well, thanks anyway.
00:34:06Any luck?
00:34:07Sorry, sir.
00:34:08Johnny, we've just got to tie in this Frenchman Jack somewhere.
00:34:12Now, he's our one big lead.
00:34:14Keep trying.
00:34:15Okay, sir.
00:34:16How do you figure he fits into this jigsaw?
00:34:18Well, he's obviously the man who did the switch.
00:34:21Do you mind if we do a switch?
00:34:23Sorry, sir.
00:34:25The question is, who employed him?
00:34:28Now, Wolff or his wife, or both of them,
00:34:33could be playing a double game, trying to get away with a fake
00:34:36while they've got the genuine article stacked away for some crooked collector
00:34:40who'll pay anything and run a risk to satisfy his personal mania.
00:34:44Now, that's a much better proposition for Mr. Wolff
00:34:46than collecting a mere 10% commission.
00:34:48All right?
00:34:49Now, along comes Aronson.
00:34:51He spots the fake, so he's killed.
00:34:54A very convening and street accident.
00:34:56Frenchman Jack is the man who did the switch.
00:34:59He knows too much, so he was shot.
00:35:00Well, what about the artists who fake the picture?
00:35:02Oh, there must be plenty of people in the art world
00:35:04who'd turn their hand to a thing like that.
00:35:06Faking old masters is quite an industry on the continent.
00:35:09Major export to South America, Johnny.
00:35:13Wolff, and particularly Vicky, would probably know a lot of these people.
00:35:18The interesting thing about it is that the fake must have been painted on the spot in Belgium.
00:35:22To produce such a brilliantly accurate copy as the one Wolff was exhibiting,
00:35:27the artist would have to consult the painting continually over quite a long period.
00:35:31Sharky.
00:35:32Bojang.
00:35:33And how are you, my sweet?
00:35:34How is my favorite reporter?
00:35:35Journalist.
00:35:36Oh!
00:35:37Photographer today.
00:35:38Oh, fine.
00:35:39Fine.
00:35:40The investigation.
00:35:41Oh, not so fine.
00:35:42No, we haven't made any arrests here.
00:35:43We're just keeping a few lines moving.
00:35:44Oh, thank you.
00:35:45I'd love to, but I can't tonight.
00:35:46Tonight I have to go over to Aronson's.
00:35:47I want to have another look around for that folio.
00:35:48That's our last bet.
00:35:49Oh, all right.
00:35:50Come in tomorrow then.
00:35:51Bonsoir.
00:35:52Dormis bien.
00:35:54Well, we haven't made any arrests here. We're just keeping a few lines moving.
00:35:59Oh, thank you. I'd love to, but I can't tonight.
00:36:02Tonight I have to go over to Aronson's.
00:36:04I want to have another look around for that folio.
00:36:06It's our last bet.
00:36:10All right.
00:36:12Come in tomorrow then.
00:36:16Bonsoir. Dormez bien.
00:36:21Bonsoir.
00:36:25Johnny, I think it mightn't be a bad idea
00:36:28if you were to ring Paris Post and ask them...
00:36:35Well, just ask them about Miss Genevieve Bossier.
00:36:38Very well, sir.
00:36:54Well, I don't know.
00:37:04You are sweet, thank you.
00:37:06You are sweet.
00:37:07I don't know.
00:37:08I'll get inside.
00:37:09Let's go.
00:37:39Let's go.
00:38:09Let's go.
00:38:39Let's go.
00:38:40Let's go.
00:38:41Let's go.
00:38:42Let's go.
00:38:43Let's go.
00:38:44Let's go.
00:38:45Let's go.
00:38:47Let's go.
00:38:48Let's go.
00:38:49Hello.
00:38:56Hello.
00:38:57Hello.
00:38:59Hello.
00:39:01Hello.
00:39:02Hello.
00:39:03Hello.
00:39:04Hello.
00:39:05Hello.
00:39:06Hello.
00:39:07Hello.
00:39:08Hello.
00:39:09Hello.
00:39:10Hello.
00:39:11Hello.
00:39:13Hello.
00:39:14Hello.
00:39:15Hello.
00:39:16Hello.
00:39:17Hello.
00:39:18Hello.
00:39:19Hello.
00:39:21Hello.
00:39:22Hello.
00:39:23Hello.
00:39:24Hello.
00:39:25Hello.
00:39:26Hello.
00:39:27Hello.
00:39:28Hello.
00:39:29Hello.
00:39:30Hello.
00:39:31Hello.
00:39:32Hello.
00:39:33Hello.
00:39:34Hello.
00:39:35Hello.
00:39:36Hello.
00:39:37Hello.
00:39:38Hello.
00:39:39Hello.
00:39:48So you didn't see the driver?
00:39:49No.
00:39:50It was too dark.
00:39:51The car lights were out.
00:39:52All I saw was a Bentley bonnet almost on top of me.
00:39:56It had a radiator mascot.
00:39:58A rather unusual one.
00:40:00Shaped like a wolf's head.
00:40:02Does that mean anything?
00:40:03Does that mean anything?
00:40:04You bet it does.
00:40:06I happen to have seen it before.
00:40:08And so, no doubt, did Mr. Aronson just before he died.
00:40:12Johnny, I'm going to pull in Wolf and his wife Vicki.
00:40:16Now, I want you to go and check where they are, but don't pull them in until I tell you.
00:40:20Very well, sir.
00:40:26Yes?
00:40:27Miss Beaujohn is on her way up to see you, sir.
00:40:30All right.
00:40:38Hello.
00:40:39What have you done?
00:40:41Oh, easy.
00:40:43No, I fell last night and sprained my wrist.
00:40:45That's the worst of being a policeman.
00:40:48And apart from that, how is everything going?
00:40:51Shh.
00:40:55Genevieve, I think I'm going to make an arrest pretty soon.
00:40:58No.
00:40:59Who?
00:41:01Well, strictly under your chapeau, not for publication, you understand?
00:41:04Oh, easy.
00:41:06Wolf and his charming Vicki.
00:41:08Wolf?
00:41:09Why?
00:41:10Ah.
00:41:11Tell me what happened.
00:41:12No.
00:41:13No more questions.
00:41:14No more questions.
00:41:15Please.
00:41:17Now, how are you getting on?
00:41:19What are you doing today?
00:41:21I'm just off to see Mr. Lucas.
00:41:23Lucas?
00:41:25He has promised to let me photograph some of his paintings.
00:41:28You don't think I should let you go off alone to an artist's studio?
00:41:30Not his studio.
00:41:31Not his studio.
00:41:32It is cottage at Grange Sands.
00:41:35That's worse.
00:41:37Is this Lucas' idea?
00:41:39No.
00:41:40I mean, he doesn't know I'm coming today.
00:41:42I have a general invitation.
00:41:44I see.
00:41:45So has Mrs. Wolf.
00:41:50You realize that our Mr. Lucas has quite a reputation with the ladies?
00:41:55I realize.
00:41:57Well, so long as you know.
00:41:59Off you go.
00:42:02It was Papa's blessing.
00:42:14This you must see.
00:42:15What is it?
00:42:16It's Erinson's folio.
00:42:17The one we've been looking everywhere for.
00:42:19Wow.
00:42:20Where did you get it?
00:42:21Clean employed on Mr. Lucas.
00:42:22Found it when she was tidying up in the basement area.
00:42:23It was in a corner hidden under that newspaper.
00:42:24Must have gone skidding in there when Erinson was knocked down.
00:42:25So he had it with him after all.
00:42:27Zinc white.
00:42:29Well, go on.
00:42:30Go on, go on.
00:42:31Mr. Lucas, away in the car.
00:42:32It was in the car.
00:42:33It was in the car.
00:42:34It was in the car.
00:42:35It was in the car.
00:42:36It was in the car.
00:42:37It was in the car.
00:42:38It was in the car.
00:42:39It was in the car.
00:42:40It was in the car.
00:42:41It was in the car.
00:42:44It was in the country, sir.
00:42:45She would have left it for him.
00:42:46But being nosy, she opened it and saw it belonged to Erinson.
00:42:48And she'd seen the name in the papers
00:42:50and decided that the best thing to do
00:42:51was to hand it into the local police station.
00:42:55Art Forgeries of Today by Max Erinson.
00:42:58The name of Michael Lucas is likely to go down in history
00:43:02as that of the greatest art forger of all time.
00:43:04A brilliant restorer of paintings,
00:43:06Lucas had all the necessary equipment and technique
00:43:08for faking a remarkable copy of Van Muir Beck's Eve.
00:43:12But one thing gave him away.
00:43:14His use of zinc white,
00:43:17a pigment which was not available when the original Eve was painted.
00:43:21To anyone who knew his art restorations intimately,
00:43:24this use of zinc white in the fake was characteristic.
00:43:27It was as though he had signed the picture himself,
00:43:31Michael Lucas.
00:43:33Where did you say this folio was found?
00:43:36In Lucas' basement area.
00:43:38Only an arm's length from the crook himself and he didn't know.
00:43:43Michael Lucas.
00:43:46He got Erinson.
00:43:48He got Frenchman Jack.
00:43:50He very nearly got me.
00:43:53But he did not get this folio.
00:43:59Johnny, we are going for a trip to get Mr. Lucas.
00:44:02Well, we don't know where he is.
00:44:03Well, I do.
00:44:04He's got a cottage at Grange Sands.
00:44:07Genevieve has just gone down to see him.
00:44:09Sir, I forgot to tell you.
00:44:11Paris Post never heard of Genevieve Beaujean.
00:44:19Thank you, Johnny.
00:44:23Well, get a car!
00:44:24Yes, sir.
00:44:54Well, what do you think of it?
00:45:15Bad, not bad.
00:45:18What did you have to drink?
00:45:21Give me a scarf, sir.
00:45:24Yes, I think we ought to have a toast to this and to any further deals.
00:45:30Well, where's the goods, Mike?
00:45:31After all, we paid a lot of cash for this hot canvas.
00:45:35To Eve and to the good old sir.
00:45:41Oh, where is it?
00:45:43It's right in front of your eyes.
00:45:44A bit more of Adam than Eve.
00:46:02Voila.
00:46:06My God, what a boudoir.
00:46:08Come and have a look.
00:46:14There she is.
00:46:15Eve.
00:46:17The best and the worst in life.
00:46:19Our greatest joy, our greatest fame.
00:46:22Eternal Eve.
00:46:25And she's all yours, Bill.
00:46:27She's all mine.
00:46:31I guess I'll have to build a boudoir like this for her.
00:46:34Why not?
00:46:35And I can suggest a few refinements while you're at it.
00:46:37Take a look.
00:46:41Hey, what's going on?
00:46:42Quite simple, old boy.
00:46:44One-way glass, have you heard of it?
00:46:45Yeah.
00:46:45From this side, it's a window.
00:46:47From the other side, a mirror.
00:46:48I had it fitted when I built the house.
00:46:50No point in having a secret room unless you can keep tabs on what's happening outside.
00:46:54You mean there's somebody out there they won't be able to see us in here?
00:46:56All he'd see would be his reflection in the mirror, just as you did.
00:46:59He wouldn't be able to hear us either.
00:47:01Well, this place is self-proofed.
00:47:04Holy smoke.
00:47:06Boy, what a set up, huh?
00:47:09I could do with a place like this myself.
00:47:11You haven't seen everything yet.
00:47:13With this switch, I can pick up conversation in the lounge.
00:47:15I'll be a son of a gun.
00:47:25That's how my whiskey disappears.
00:47:26Watch.
00:47:28Put that down at once.
00:47:29I said, put that down.
00:47:34Now, get outside and keep watch.
00:47:36Mr. Robson and I don't want to be disturbed again under any circumstances.
00:47:38And keep your thieving hands off other people's scotch.
00:47:41Yes, sir.
00:47:43Certainly, sir.
00:47:45Any more gadgets?
00:47:47Well, there's a useful side exit.
00:47:49Neat.
00:47:56Very, very neat.
00:48:00How many people know about this?
00:48:03Only one other.
00:48:05A charming French girl.
00:48:07And somehow, I don't think she'll share the secret for very much longer.
00:48:19I don't think she'll share the secret for very much longer.
00:48:49I don't think she'll share the secret for very much longer.
00:48:50I don't think she'll share the secret for very much longer.
00:48:54Scarper, there's nobody at home.
00:48:58Not even Mr. Robson?
00:49:00Not even Mr. Robson.
00:49:02Or Mr. Lucas?
00:49:03Or Mr. Lucas.
00:49:06I have an appointment.
00:49:08I'm a personal friend.
00:49:09Not today, you're not.
00:49:19I'm a professional friend.
00:52:14I'll tell you how frustrated I was wasting my talent on patching up old masters.
00:52:19I knew I could paint as well as they could, even better.
00:52:23But my own work was ignored.
00:52:25That fool, Wolf, wouldn't give me an exhibition.
00:52:27So I decided to prove to the world that I, Michael Lucas, was as good as any of the great artists by painting the perfect copy.
00:52:36Well, you certainly proved that.
00:52:37Well, you certainly proved that.
00:52:37Yes, my first old master was completed quite some time back.
00:52:42Since then, I've carried on a very lucrative under-the-counter trade.
00:52:45Well, how were you able to make a reproduction of my eve?
00:52:48Oh, I knew about the negotiations and plenty of time to repair a copy.
00:52:51Well, I went over to Belgium and persuaded the curator's secretary of the Chateau de Gelderot to fall in love with me.
00:52:58Well, she let me into the Chateau de Gelderot to copy the original.
00:53:01Well, then, with the help of another friend of mine, a cracksman known to his associates as Frenchman Jack.
00:53:07Well, look, we made the switch just before the painting was taken into Bonn.
00:53:11Everything was going beautifully.
00:53:15Until the great Max Aronson had the effrontery to spot the fake.
00:53:20But then he met with an accident.
00:53:23So it wasn't Wolf?
00:53:25No, though I've gone to considerable pains to give the impression that it was.
00:53:29I bought a Bentley, used the same index numbers, and displayed a Wolf mascot.
00:53:33Simple.
00:53:34What about this, uh, Frenchman Jack character?
00:53:37He tried a little blackmail, so I had to deal with him.
00:53:42My God.
00:53:44Then I thought I played it cool.
00:53:47Well, um, what about this, um, curator's secretary you've been talking about?
00:53:54Oh, she's been very useful to me over here.
00:53:57She's had that fool of an inspector on a string ever since she arrived.
00:54:01As a result, I've been one jump ahead of Scotland Yard all the time.
00:54:05Um, smart girl.
00:54:09But I'm afraid Genevieve is beginning to become a nuisance.
00:54:13Pity.
00:54:14Not that nice French kid, Genevieve Beaujean.
00:54:17Well, she no longer fits into my plans.
00:54:19She's turned bitchy, Bill.
00:54:21Like all women who want to own a man.
00:54:24And she's getting suspicious of my intentions towards Vicki Wolf.
00:54:28So that's it, huh?
00:54:29I might have guessed.
00:54:31Does, um, Arnoud know about your dishonorable intentions?
00:54:34No.
00:54:35Nor, strangely enough, does Vicki.
00:54:39Yet.
00:54:40Just give me a little time.
00:54:42When I've broken Arnoud, and that won't be very long,
00:54:45I think I'll be able to do something with what's left.
00:54:48Struth.
00:54:49Come on, Bill, cheer up.
00:54:51And let's have another toast, this time to Vicki.
00:54:54That's a toast you won't drink.
00:54:57Don't move.
00:54:58You know where I am.
00:55:00I have your gun.
00:55:01Don't move.
00:55:04I've heard every word you've said.
00:55:06So that's how you love me.
00:55:08That's how we're going to spend our life together.
00:55:11I was to look after you.
00:55:13You were to paint.
00:55:14Oh, the plans.
00:55:17Now, don't feel into your plans, no?
00:55:20I lied for you.
00:55:22Cheated for you.
00:55:23I left home, left my job.
00:55:24Gave you everything.
00:55:27What do you give me in return?
00:55:28A toast to Vicki.
00:55:35It's all right, darling.
00:55:39I knew you were there all the time.
00:55:44I was joking.
00:55:47Come on now, don't be sick.
00:55:51Put the gun down and come out.
00:55:53I don't believe you.
00:56:01I loved you.
00:56:02I never questioned you once.
00:56:04Don't come near.
00:56:04Don't come near.
00:56:05Die!
00:56:19Die!
00:56:19Die!
00:56:20Die!
00:56:20Die!
00:56:21Die!
00:56:22Die!
00:56:22Die!
00:56:23Oh, my God.
00:56:53Where are you?
00:56:59All right, get him out.
00:57:23Genevieve.
00:57:27Genevieve.
00:57:29Genevieve.
00:57:30Genevieve.
00:57:31Genevieve.
00:57:32Genevieve.
00:57:33Genevieve, are you all right?
00:57:37No.
00:57:38Genevieve.
00:57:39Genevieve.
00:57:40Genevieve.
00:57:41Genevieve, are you all right?
00:57:44No, no.
00:57:45Genevieve.
00:57:46Genevieve.
00:57:47Genevieve.
00:57:48Genevieve.
00:57:49Genevieve.
00:57:50Come on, it's all right.
00:57:51Genevieve, come on, it's all right.
00:58:01It's all over, Genevieve.
00:58:04Come on, there's no need to be afraid now.
00:58:06Don't cry.
00:58:08Don't cry.
00:58:09Come on, it's all over.
00:58:10No, no, no, Genevieve.
00:58:11No, no, Genevieve.
00:58:13I've killed him.
00:58:16What?
00:58:16I've killed him.
00:58:21No, you haven't.
00:58:23No, you haven't killed him.
00:58:25He's quite all right.
00:58:26He's alive.
00:58:27I've just had a fight with him.
00:58:29It's all right.
00:58:30He's outside.
00:58:32It's all over.
00:58:37It's only you.
00:58:38But I do know.
00:58:40I know all about Paris Post.
00:58:44When Frenchman Jack attacked you, I knew you were involved somewhere.
00:58:47When you were the only person I told that I was going to Aronson's.
00:58:53When I got there, there was somebody waiting for me.
00:58:55Oh, no.
00:58:56Tried to kill me with the Bentley.
00:58:58I didn't know.
00:58:59No, I swear I didn't know.
00:59:01He made me promise I would tell him everything you were going to do,
00:59:05but I didn't know he wanted to kill you.
00:59:08I swear.
00:59:10Did you know they were going to kill Aronson?
00:59:14Frenchman Jack?
00:59:15No, I swear.
00:59:16Oh, what a dirty business.
00:59:34Got someone here I thought you'd like to see, sir.
00:59:50I don't know a thing about this, Inspector.
00:59:53I'm just here having a quiet chat about nothing in particular
00:59:56when all of a sudden, wham, somebody starts shooting at Lucas.
00:59:59Shut up, shut up, shut up, shut up.
01:00:01Let's go.
01:00:31Let's go.
01:01:01Let's go.