( noirish jazz theme playing )
( crickets chirping )
Yes, Mr. Kovac, there are more.
I've got the finest collection of Van Hootens
in the United States.
You must feel like Alexander the Great,
weeping because there are no new worlds to conquer.
That's where you're wrong, Mr. Kovac.
There will always be new worlds. Cigar?
Thank you.
There must be, um,
a dozen Van Hootens that have never been discovered.
Believe me, they have been lost forever.
What about The Purple Woman?
It has been destroyed.
Well, I've got a little surprise for you.
It's incredible.
Where did you obtain this painting?
Let's just say it became available.
I'd hate to tell you what the little lady cost me.
I would advise you to get your money back.
What do you mean?
You have been sold a forgery.
Are you out of your mind?
It's got to be the real thing.
Look at that color, the brushwork.
It is incredible, but not a Van Hooten.
And you can decide that with one look?
With one look.
You have been swindled by someone
who knows a great deal more about art than you do.
( dramatic theme playing )
( mysterious theme playing )
MAN: Did you think I'd pay you $86,000 for a fake?
Answer me, Girard.
Mr. Varner, you amuse me.
Here you are, a self-made authority on modern art.
Your collection is second to none.
Who would believe that the great Rufus Varner
has been taken in by a fraud?
Well, uh... nobody has to know.
But you want your money back.
Naturally, I shall have to inform the press
about what happened.
You wouldn't dare.
Why, your own reputation would be ruined.
Would it?
When I told you The Purple Woman had been found,
I advised you to consult an expert, like Kovac.
But you couldn't be bothered.
Because I trusted you.
Oh, no. Because you thought you knew it all.
New York, Paris, Rome...
The whole art world is waiting to laugh
at your pretentiousness.
And you have the enormous vanity
of most ignorant men.
But I digress.
You're waiting for the return of your money.
I'll have Miss Andrews make out a check.
No.
Wait.
As you wish.
Just tell me one thing:
Who painted that painting?
I was under the impression it was Van Hooten.
( mysterious theme playing )
Mm. This is good cognac, Mrs. Girard.
As good as I've had in years.
Thank you, Mr. Hubble.
( chuckles )
That's right. You should thank me.
After all, you and your husband can afford the best
because of people like me.
What are you talking about?
Don't you own the building at 1440 Broadhurst?
Yes, my grandfather left it to me.
Mm-hmm. And I suppose you don't know
that I've been working on The Purple Woman there
for the past six months?
The Purple Woman?
You had no idea.
No.
You liar.
How dare you?
( mockingly ): "How dare you?"
( laughing )
You know, I'd like to paint you sometime.
Who knows, I might do as much for you
as Goya did for the Duchess of Alba.
( doorbell rings )
Or vice versa.
If you'll excuse me, I think that's my husband.
Oh, what a bore.
I've hardly had time to get acquainted.
But that's the traditional role of husbands.
They always intrude at the most inopportune moment.
Good evening, Milo.
What are you doing here, Hubble?
You never seem to be in when I call at the gallery.
Evelyn, would you be good enough to...?
Of course.
It was nice seeing you, Mrs. Girard.
Let's do it again sometime.
I don't recall inviting you here.
Afraid I'll contaminate the premises?
That was one of my reasons.
Well, Rufus Varner bought The Purple Woman,
and I want to be paid off.
You promised me a show of my own.
Did I?
Yes.
You told me if I could paint the Van Hooten good enough
to fool Rufus Varner, I could write my own ticket.
Oh, don't be naive.
Of course you can imitate Van Hooten.
That doesn't mean you're an artist.
You're a hack, Hubble.
You have all the creativity of a house painter.
They said that about Van Gogh.
Then why don't you compare yourself to da Vinci
while you're at it?
You stick by your agreement,
or I'll go to Varner and spill everything.
I very much doubt that Mr. Varner would admit
that he was victimized.
Then I'll go to the newspapers.
I believe you tried that once before.
As I recall, you earned quite a reputation for yourself
as a drunken crackpot.
But don't let me prevent you from trying them again.
What did he want, Milo?
( door opens )
( door closes )
My dear Evelyn, have I ever allowed my business affairs
to intrude on our marriage?
Then what makes you think I intend to start now?
The way he talked--
Oh, yes.
Another member of the "Hate Girard" society.
I believe you're the president.
Aren't you, my dear?
I've earned the office.
You really despise me, don't you?
I don't think I'll ever be happy again
as long as you live.
( dramatic theme playing )
Good night, my child.
EVELYN: Perhaps you'll think I'm being disloyal, Mr. Mason,
but frankly, I don't trust my husband,
and I can't afford to be sued.
I have reason to believe
that recently he defrauded a collector
with a painting called The Purple Woman.
In the first place,
you're not responsible for the torts of your husband.
Torts?
Wrongful acts
for which civil action may be brought.
But suppose they can prove that I cooperated with him?
Did you? No.
No, but the collector may think so.
The copy was painted in a building which I own.
Even the artist, a man named Aaron Hubble,
is under the impression that he had my approval to work there.
I thought your husband was so successful,
he needn't resort to this kind of thing.
My husband is a very peculiar man, Mr. Mason.
If there are two ways to do something,
and one of them is illegitimate,
you can trust Milo to pick that way.
If, by chance, you were wondering
why I don't get a divorce--
No, I'd-- I'd assumed you had your reasons.
I come from a very strait-laced family, Mr. Mason.
My father--
My father is a very prominent churchman.
But that doesn't mean
that I have to condone my husband's actions,
or suffer for them.
All right, Mrs. Girard, I'll do what I can.
Thank you.
I have an associate, a Mr. Paul Drake,
who may get in touch with you.
All right. Thank you again for seeing me.
Goodbye, Miss Street. Goodbye.
What do you think?
Quite disillusioned.
Quite right.
( mysterious theme playing )
Della. I know.
Get Paul on the phone? Mm-hmm.
How about this, Mr. Girard?
Is it true that Varner's paid a big price for a new canvas?
My dear friend, why come to me about the Varner collection?
Well, he won't see any newspapermen,
and you are his dealer. Not anymore.
Oh? I understood he bought this picture from you.
Mr. Gordon, you understand the relationship
between dealer and client. Even a former client.
As a man of integrity, I couldn't possibly--
Oh, I'm sorry, Milo.
Miss Andrews didn't tell me you were busy.
Oh, don't go, darling.
Oh, Mr. Gordon, I don't think you've met my wife.
Evelyn, this is Wayne Gordon, best art critic in town.
Thank you for the kind words. Even if they are true.
How do you do, Mrs. Girard?
I must apologize for breaking in this way.
Nonsense, darling. You know I'm always too happy to--
( intercom buzzes )
Yes, Doris? DORIS: Mr. Brady's here.
Ask him to wait. I'll be right out.
I'm sorry, Mr. Gordon, but you will excuse me for a moment?
Oh, yes, of course. Evelyn,
will you entertain Mr. Gordon?
I shan't be long.
Why haven't I heard from you?
It isn't right.
Evelyn, I've got to see you. Oh, please.
If Milo found us...
I'll call you. When?
Tonight. I promise.
MILO: Goodbye, Mr. Brady.
Goodbye, Mrs. Girard. Goodbye, Mr. Gordon.
Oh, leaving already?
Well, since you wouldn't talk to me,
I thought I'd try Varner again.
Good luck.
Well, that was an amusing little charade.
( chuckles )
"Mrs. Girard." "Mr. Gordon."
Oh, yes. I know all about Wayne.
Where did you get those?
Darling, you should be more careful.
A child could pick that lock on your vanity table.
( chuckling )
I can't imagine how he got a job on a newspaper.
Mmm.
Well, I-I did think Wayne could do better.
I never answered any of those letters.
That's the truth, Milo.
Mm.
I may have been guilty of bad judgment,
but that's as far as it went.
( chuckles )
Wh-what are you going to do?
I haven't quite decided yet.
A nice, juicy divorce has a certain appeal.
( chuckles )
I'd love to see your father's face
when he reads the papers.
Or do you think the very Reverend Dr. Bates
might even come down for the trial?
Darling, careful.
You might hurt yourself.
I'll kill you.
So help me, I'll kill you.
( knock on door )
Mr. Girard, I--
Oh, I-I'm sorry. I thought I heard--
You heard me, Miss Andrews.
You must forgive my wife, Doris.
She's the emotional type.
As an intellectual, you wouldn't understand that.
Doris, rub my neck.
I'm afraid I'm getting one of my headaches.
Want me to do anything for you before I go?
No.
What's wrong?
Paul has a theory that Mrs. Girard
hasn't exactly been honest with us.
Do you mean she made up that story about The Purple Woman?
I don't know if that's one of her inventions.
But this afternoon, her husband retained Stauffer and Walton
to institute suit for divorce on grounds of infidelity.
( mysterious theme playing )
Good morning, Mr. Girard.
Milo...
What's the--?
( dramatic theme playing )
( screams )
( dramatic theme playing )
This is ridiculous, Mr. Mason.
How could anyone possibly believe I murdered my husband?
I can think of two or three reasons, offhand.
One, your husband instituted suit for divorce,
and you didn't want it.
Two, the police have several statements
concerning your quarrels with him.
Three, they found your fingerprints
on the murder weapon.
Do you think I'm guilty?
According to the police, your husband was killed
between midnight and 2 in the morning.
Now, where were you at that time?
Home.
The servants say that you left your home at 11:30
and didn't return until after 3.
Well, I, um, couldn't sleep. I went for a drive.
What time did you go to your husband's office?
I didn't go to my husband's office.
Someone burned a number of letters there last night.
Well...
Now, listen, Mrs. Girard.
The police are very efficient.
You'd be surprised
what they can do with a handful of ashes.
Those letters were addressed to you.
Well, I don't know anything about them.
The only other person who might have had a motive
to destroy those letters was the man who wrote them.
No, he didn't have anything to do with it.
I went to my husband's office to plead with him.
I asked him to give me the letters back.
When I walked in, I-- I saw him leaning over the desk.
By his side, there was his favorite figurine.
I picked it up.
Why?
Oh, I don't know. I didn't realize what I was doing.
Then I saw the blood.
I dropped it. I started to leave.
And then I remembered about the letters.
They were in the top drawer of his desk.
I got them out... and burned them.
And that's all I did, I swear.
Who's the man?
There's no reason to involve him in this.
You don't seem to realize you've been charged with murder.
That's all the more reason
not to involve an innocent party.
I didn't kill my husband, Mr. Mason.
You've got to believe that.
I was Milo Girard's secretary for almost ten years.
He was my first employer.
I never wanted to work for anybody else.
He knew more about art than all his patrons put together.
I can think of several men who might argue the point.
Does the name Hubble mean anything to you?
Hubble? No.
According to Mrs. Girard,
Hubble had business dealings with her husband.
That's ridiculous.
Mr. Girard handled only top-flight names.
He wouldn't touch Aaron Hubble with a ten-foot pole.
Oh, did I say his first name was Aaron?
Now, look, Mr. Mason, ( intercom buzzes )
I came here-- Excuse me.
Yes, Della?
Good.
Yes, right away.
Yes.
I'm sorry, Miss Andrews. You were saying?
I don't like your attitude.
I was obliging enough to come up here tonight,
and then to sit while you question every--
Well... Well, well, well, looks like Old Home Week.
Come in, Mr. Hubble.
Who painted that? Paul Daly.
He's a hack. Get rid of it.
I'm surprised you're not in mourning, angel.
You'd look well in black.
Then you know Miss Andrews? Know her?
Why, every time I tried to see Girard,
she was guarding his door like--
like a tigress defending her young.
( chuckles )
Take care of yourself, dearie.
( door slams )
Oh, she's real crazy about me.
That's why she rushed off like that.
She didn't want to give herself away.
Hey, you, uh, wouldn't happen to have a drink around, would ya?
Della... What would you like?
Anything, and forget the ice.
Well, actually, I can't stand the stuff.
I just drink because it's expected of me.
I understand you're a very talented artist, Mr. Hubble.
Well, you're obviously a man of great discernment, Mr. Mason.
You did some work for Mr. Girard, didn't you?
I spent six months on a job for that peasant.
No other artist in the country could do what I did.
Here you are.
( chuckles ): Thanks.
Uh, remind me to paint you sometime.
You, uh, ever hear of The Purple Woman?
That the name of a portrait?
It was supposed to be by Van Hooten...
only it wasn't.
You mean, you forged a Van Hooten?
That's right.
Why, I once forged a Gauguin that was so good,
Girard kept it himself.
Is that such an achievement?
I mean, you could probably fool me,
but that wouldn't take very much.
Say, listen...
I fooled one of the biggest collectors in the world,
Rufus Varner.
Did you tell that to Varner?
No. No, he wouldn't see me.
And then after Girard was murdered,
I went to the district attorney.
What did Mr. Burger have to say?
He said I was a screwball wino
who was just looking for cheap publicity.
Are you looking for publicity?
Well, why not?
I'm one of the greatest talents alive.
If they knew I fooled Rufus Varner,
they'd look at me with new respect.
All I need is publicity. That'd get me a one-man show.
All right, Mr. Hubble, keep in touch.
You may get all the publicity you want.
( mysterious theme playing )
Now let's come to the point, Mr. Mason.
I only agreed to see you
because your secretary said it was of vital importance.
Do you consider murder of "vital importance," Mr. Varner?
Whose murder? Milo Girard's.
It's of no importance to me.
The police may think otherwise.
Are you trying to intimidate me?
I'm just stating one of the basic facts of life.
When a man is murdered, sooner or later,
the police get around to investigating
all his acquaintances.
Friendly or otherwise.
Are you insinuating that I was one of Girard's enemies?
I'm just curious as to how well you knew him.
I bought a few paintings from him, that's all.
Suppose one of them was a forgery?
Do you know who you're talking to?
Do you honestly think that anyone could sell me a forgery?
Milo Girard did.
Get out.
Mr. Varner...
an innocent woman may go to her death
because of your vanity.
Now, won't you go with me to see the district attorney?
Mason, I've dealt with men like you before.
Better too.
Take my advice.
Don't try to involve me in this mess.
That a threat?
Let's just say that...
I'm giving you the benefit of my experience.
I'll bear that in mind.
( ominous theme playing )
From what I can remember,
Varner started collecting about 15, 20 years ago.
I mean, collecting on a big scale.
I think he made his money in South America.
Gold mines, I believe. No, tin.
Oh. You obviously know more about the man than I do.
But I know considerably less about art.
Now, would you be willing to testify for the defense?
So that's why you got me up here.
That's why.
What can you tell me about Van Hooten?
Aside from what I've read here.
Well, I see you've got his letters to his sister, Marte.
I guess you know it all then.
In one of his letters,
he mentioned a painting called The Purple Woman.
Oh, yes.
That was painted in Ireland in 1890 or '91.
Van Hooten gave the painting
to the girl he used for his model.
For some unknown reason, she wasn't happy with the portrait
and kept it in the cellar.
Then around 1895, I think it was,
the place burned to the ground.
Suppose that painting would show up today.
Apparently, we've heard the same rumor.
A couple of weeks ago,
someone told me Girard had sold Varner
a forged Van Hooten.
Do you recall who this "someone" is?
Well, I tried to run the thing down,
but got nowhere.
Now, uh, if I should run across the painting,
whom would you nominate to establish its authenticity
or lack of it?
Well, there's Brocklyn in Amsterdam, Haversham in London.
Then, of course, there's Kovac. He's the greatest of all.
Incidentally, he's right here in Los Angeles.
I understand he's leaving for Paris at the end of the week.
Well, thank you again for your help, Mr. Gordon.
Not at all. If there's anything I can do
in the future to help, don't fail to call on me.
Goodbye, Mr. Gordon. Goodbye.
I think he'll be a good witness.
( knock on door )
There's our wandering boy now.
Come in, Paul.
Hi, beautiful. Hello, Perry.
Well, you look like you hit the jackpot.
I did. I have just seen Laslo Kovac.
Do you know who he is?
World's greatest expert on Van Hooten.
And just how did you know that?
You're not the only detective around here.
Well, here's something you didn't know.
When Kovac arrived in Los Angeles,
Varner invited him to visit his collection.
Did he see The Purple Woman?
He did. He said it was a phony from way back.
He even volunteered to testify if you want him to.
Oh, that's wonderful, Paul.
Now we won't have to use Wayne Gordon.
Now we won't have to use who?
Wayne Gordon, the art critic on the Chronicle.
Uh-huh. That's not all he is.
He is also Evelyn Girard's boyfriend.
You sure of that? I am.
Well, I certainly hope the district attorney's office
doesn't find out about that.
They don't have to. They're way ahead of us.
Where do you think I picked up this information?
( dramatic theme playing )
( ominous theme playing )
And-- And then, just before I left for the evening,
Mr. Girard asked me to call his wife.
He wanted me to tell her he wouldn't be home to dinner
because he was gonna be working late at the gallery.
So Mrs. Girard was aware
that her husband was at the gallery the night of the murder?
I object, Your Honor.
The witness cannot testify to what anyone else knew.
She can only testify to what she herself knew
and to what she did. Sustained.
Then let me put it this way:
Did Mr. Girard ask you to instruct anyone else
that he was gonna be at the gallery that night?
No. As a matter of fact, he asked me not to tell anyone.
He wanted to make sure he wasn't disturbed.
I see. Now, Miss Andrews, you testified earlier that
the defendant only visited her husband's office
on five occasions that you can remember,
and that on four of those occasions, everything seemed
to be very amicable. DORIS: Yes.
Would you now tell this court
in what respect the fifth occasion
differed from the others?
She tried to kill him.
( spectators murmuring )
( gavel bangs )
Would you tell us what you mean by that statement?
Exactly what I said.
She tried to stab him with a pair of scissors.
DORIS: He discovered a number of love letters
some man had written her.
Thank you, Miss Andrews.
Cross-examine, counselor.
Now, Miss Andrews,
what are your feelings toward the defendant?
Do you like her, or do you dislike her?
If you want me to say I don't like her, I don't.
I don't like her, and I don't trust her.
But you found your employer to be completely trustworthy?
Yes, I did.
Mr. Girard had to travel a great deal
in the course of business, is that not correct?
Yes.
And you accompanied him sometimes?
Well, yes, whenever he felt
he'd need a secretary on the trip.
Is it true that you went to San Francisco
with Mr. Girard on January 4th of this year?
Yes.
Did you see the defendant on that trip?
No.
Are you sure, Miss Andrews?
Yes, I'm-- I'm positive.
You're, of course, familiar with Mr. Girard's handwriting?
Yes, of course.
I show you now what purports to be a registration card
of the Gateview Hotel in Palo Alto,
showing a registration for Mr. Milo Girard and wife.
MASON: Now, is this Mr. Girard's handwriting?
I can't tell.
I noticed that room 867 is the room assigned
to Mr. Girard and wife.
Do you recall what your room number was?
No, I don't remember.
Then let me refresh your memory.
Don't bother.
I was in love with Milo Girard.
And he loved me.
I have no further questions.
The witness may step down.
I call Wayne Gordon to the stand please.
Did the defendant ever tell you
that she was in love with you?
Yes, sir.
And you were in love with her? Yes, I was.
And I still am.
BURGER: Did you ever ask the defendant to marry you?
WAYNE: Is there anything wrong with that?
Not a thing, Mr. Gordon, but it did present a problem.
The defendant was married at the time.
Or did you ask her to divorce her husband?
Yes, I did.
BURGER: What was her reply to that?
WAYNE: She told me she didn't believe in divorce.
BURGER: That didn't prevent her from seeing you.
WAYNE: Yes, it did.
Didn't you meet her on the 19th of this month
at her husband's office?
That was wholly accidental.
Was it wholly accidental
that she phoned you at your office the week before?
As a matter of fact, she phoned you three times
before she was able to reach you.
Isn't that so, Mr. Gordon? Yes.
What was the purpose of these calls?
Well, she wanted some advice.
She thought her husband had involved her in a fraud.
I suggested she see a lawyer.
Any particular lawyer? Perry Mason.
And how did Mr. Mason advise the defendant?
I object, Your Honor.
The question not only calls for hearsay,
it also calls for a privileged communication.
JUDGE: The objection is sustained.
No further questions.
Your witness.
( Burger coughs )
Mr. Gordon, you testified
that you advised the defendant to consult an attorney.
Yes, sir. Why?
Well, Mrs. Girard was afraid
of being involved in a lawsuit
over a painting called The Purple Woman.
And what exactly is The Purple Woman?
I object, Your Honor.
Not only is the question
incompetent, irrelevant and immaterial,
but counsel is fully aware
I covered none of that in direct examination.
If it please the court,
the district attorney asked this witness on direct
why Mrs. Girard wanted advice.
He replied that she thought her husband
had involved her in a fraud,
and I maintain I have a right to inquire into this fraud
and determine all its ramifications.
I'm inclined to agree with you, Mr. Mason.
The objection is overruled.
MASON: Thank you, Your Honor.
Now, Mr. Gordon,
what did the defendant tell you about this so-called fraud?
She told me that Mr. Girard had swindled some collector
with a forged painting called The Purple Woman.
Did she tell you the name of the artist who painted the forgery?
Yes, sir. She told me his name was Aaron Hubble.
MASON: Did she tell you the name of the collector
who bought the painting?
WAYNE: No.
Thank you, Mr. Gordon. That'll be all.
You may step down.
Well, gentlemen, the court is going to take judicial notice
of the time of day and suggest we recess for lunch.
Court's adjourned until 2:00 this afternoon.
( mysterious theme playing )
Who gets the ham on rye and the milk?
Our growing boy.
And the bacon and tomato? I do.
Well, I guess by the process of elimination,
the next one must be mine.
Thank you, Martha. You're welcome, Mr. Mason.
Good afternoon, counselor.
You're pretty cute.
What's the trouble, lieutenant?
Don't play innocent.
You know Burger wouldn't let you insinuate
that that painting has anything to do with this case.
But let me tell you one thing, counselor.
It may be that you sealed your own tomb.
It seems that Mr. Hubble, uh,
has long ears.
What's that supposed to mean?
Oh, no, just because you spoiled my meal
is no reason for me to spoil yours.
You just go ahead and have a good lunch, folks.
( suspenseful theme playing )
Now, Mr. Hubble, you visited the deceased at his home
the day before the murder?
Yes. For what purpose?
I wanted to discuss a painting with him.
Girard had exploited me.
I painted The Purple Woman, and that's something--
Mr. Hubble, please answer just the questions that I put to you.
Now, you visited the deceased at his home
the day before the murder, is that correct?
Yes.
And who admitted you to the house on that occasion?
Mrs. Girard. I talked to her about the painting, but--
Your Honor, would you please instruct this witness
to answer only those questions I put to him?
But you want the truth.
Mr. Hubble, you will confine yourself
only to the questions asked by the district attorney.
Thank you, Your Honor.
Now, Mr. Hubble, was Mrs. Girard present
during your discussion with Mr. Girard?
No, she came back as I left.
I'm afraid I was guilty of bad manners.
What do you mean?
Well, I was curious to hear
how Girard would explain me away,
so I waited in the entry hall,
and, uh, did a little eavesdropping.
And what did you overhear?
When Mrs. Girard wanted to know who I was,
he described me as a member of the "Hate Girard" society.
He said she was the president.
And what was the defendant's response to that?
Oh, she said she earned the office,
and that she'd never be happy again
as long as he lived.
BURGER: She'd never be happy again as long as he lived?
HUBBLE: Yes.
Thank you, Mr. Hubble. That's all. Your witness.
Mr. Hubble...
you testified that Mr. Girard characterized you
as a member of the "Hate Girard" society.
That's right.
How do you feel about Mrs. Girard?
I've got nothing against her.
You testified that Mr. Girard was alone
when you came to the Girards' home that night.
Yes.
At that time, didn't you call her a liar?
I did.
But I thought she knew I painted The Purple Woman.
And just what is The Purple Woman?
Your Honor, I must object.
Mr. Mason has tried to introduce this subject
every time I examine a witness.
I asked Mr. Hubble absolutely nothing
about this so-called Purple Woman on direct.
Counsel has no right to pursue the subject on cross.
If it please the court,
Mr. Burger asked the witness
why he had called on the deceased that night.
The witness's answer was entirely responsive.
He said he had come to discuss a painting.
I submit I have the right to pursue this matter
since the district attorney himself opened the door.
It seems to me, Mr. Burger,
that since the door was opened, even that much,
the defense has a perfect right to walk right in.
JUDGE: You may proceed, Mr. Mason.
MASON: Thank you, Your Honor.
Now, Mr. Hubble, just what is The Purple Woman?
Uh, it's the name of a picture
Carl Van Hooten was supposed to have painted around 1890.
Girard had a rough sketch in color.
He asked me if I could paint it in Van Hooten's style.
Where did you work on this painting?
Oh, Girard fixed up a place for me
in an empty building his wife owned.
He used to visit me there and discuss my work.
I felt she had to know about the painting,
and she must have known he sold it to Rufus Varner.
Your Honor, may we approach the bench?
Yes.
Your Honor, this is patently ridiculous.
I have absolute confidence in the integrity of this witness
and every subject on which I interrogated him.
However, he seems to have a fixation
about a certain painting.
And defense counsel has adroitly insinuated evidence
on this point in an effort
to destroy the credibility of the witness.
Your Honor, I-- If you please.
Simply because the man nurses delusions
about a certain painting,
doesn't make the rest of his testimony worthless.
Why not produce the painting?
Then let a psychiatrist determine
whether this man with his delusion
is a trustworthy witness in other matters.
If it please the court,
he can certainly relate a conversation that he overheard.
He can certainly describe things he saw happen.
If you hadn't dragged that painting into this case,
there'd be no impression this was an irrational witness.
Well, gentlemen, it comes down to this:
The court ought to take a look at this painting,
and we ought to have an expert in to appraise it.
Very well, Your Honor.
If the, uh, district attorney would like me
to suggest the name of an expert...
Oh, I think I'll be able to find an expert, Mr. Mason.
KOVAC: And then I was invited by Mr. Varner
to see his collection.
Of course, I was happy to accept.
And you saw The Purple Woman at that time?
Yes.
Did you make any comment about it to Mr. Varner?
I told him that he had purchased a fake.
BURGER: A fake?
Well, it was obvious to me that he had been swindled.
Would you mind stepping down and explaining to the court
on what you base that decision?
I'll be happy to.
KOVAC: Now...
if you will take a look at here,
for instance--
Go on, Mr. Kovac.
KOVAC: One moment, please.
I cannot understand this.
Well, what is it, Mr. Kovac?
You will have to forgive me,
but I may have made a terrible mistake.
You mean, the picture might be genuine?
I cannot say for certain.
You're not prepared to say that it's a fake?
It well may be a genuine Van Hooten.
You liar!
JUDGE: Bring that man forward.
Can you show just cause why you should not be
held in contempt of court? I'm not gonna stand here
and let them barter away my talent.
I fine you $25.
You might as well make it $25,000.
In that case, I sentence you to 24 hours in the county jail,
sentence to begin immediately
upon the expiration of this hearing.
Bailiff.
The witness may resume the stand.
Mr. Burger.
I have no further questions, Your Honor. Your witness.
Mr. Kovac,
when Mr. Varner first showed you that painting,
you told him it was a fraud.
Yes, at that time it seemed so, but now--
Now, what?
Well, I own an unpublished letter Van Hooten wrote
to his sister describing this painting.
He mentioned that the model was a young French peasant girl
who had a slight cast on her left eye.
Van Hooten thought
it gave the portrait an interesting quality.
Now, if you would observe--
Didn't you check that point
when you saw the painting in Mr. Varner's home?
Yes.
But at that time,
it seemed that the eyes were somewhat different.
Could it be that the painting
has subsequently been retouched?
Never occurred to me.
Your Honor, I submit there is reason
to doubt the authenticity of this work.
Therefore I ask
that this painting be examined scientifically.
Frankly, by now, there is doubt in the court's mind.
How long will it take
for the scientific tests you have in mind?
Oh, infrared and x-ray examinations
can be arranged in a matter of hours.
Forgive me if I speak out of turn.
But I'd welcome such tests.
You will make the necessary arrangements, Mr. Burger.
Court is adjourned until 10:00 tomorrow morning.
( suspenseful theme playing )
Oh, come in.
Well?
It's a genuine Van Hooten.
Are they sure?
As sure as they can be.
The canvas is at least 60 years old,
and the pigments are the same as those Van Hooten used.
Come on, Paul, I want to check out a hunch.
All right.
( tense theme playing )
See if you can find the light switch, Paul.
PAUL: I got it.
What's the trouble?
Oh, there's no trouble.
I always shake like this
when I'm guilty of breaking and entering.
Well, we used a key.
That makes a difference?
It does when it's been turned over to you
by the surviving spouse.
( sighs )
What are we looking for anyway?
The Purple Woman.
But Varner said that he bought The Purple Woman.
Varner bought a forgery.
But I'm convinced that Girard owned the original.
Did Hubble tell you that?
Well, indirectly.
Hubble testified that...
That he copied the painting from a color sketch.
Now, the painting disappeared in the 1890s.
How did Girard know the right colors?
They must have come from the original.
Well, what are you waiting for?
I'm thinking.
I'm trying to put myself in Girard's place.
Now, if I wanted to hide a valuable painting,
I certainly wouldn't put it in the gallery vault.
It's the first place anybody would look for it.
You know what I'd do?
I'd put it right behind another painting
of exactly the same size.
One that no one in his right mind
would even consider buying.
Well?
No, not this one.
You're right, Paul.
There's another canvas underneath.
In other words, Mr. Varner,
the deceased, Milo Girard, acted as your agent
in obtaining most of the pictures in your collection.
That's right.
I'll show you now this check dated May 4th of this year,
made out to the Girard galleries
and signed by you. That is your signature?
Yes.
The amount on the face of this check is $86,000.
Is that what you paid for The Purple Woman?
It is.
And how many Van Hootens do you own, Mr. Varner?
Forty-two.
I have the largest collection in the United States.
BURGER: Thank you, sir. Your witness.
Now, Mr. Varner, you testified
that you own a Van Hooten called The Purple Woman.
That's right.
Is it genuine and not a forgery?
Do you think anyone could fool me with a forgery?
MASON: I think Mr. Girard did.
VARNER: That's a lie!
Will the court allow me?
JUDGE: Certainly.
( Paul clears throat )
Put it here.
What's the meaning of this, Mr. Mason?
MASON: May I ask the court's indulgence?
JUDGE: Very well.
Now, Mr. Varner,
I'll ask you once more.
Do you own Van Hooten's Purple Woman?
Just use your eyes, Mr. Mason.
There it is, right there.
Then would you please tell the court...
...what this is?
It's a cheap fake. That's what it is.
You can determine that just like that?
I'm an expert, Mr. Mason.
MASON: No one can fool you? VARNER: No.
And what was your reaction
when Mr. Kovac told you you had been swindled?
I told him he was crazy.
Why did you call on Girard the following morning?
Well, I just thought the story would amuse him.
He was a very good friend of mine.
He was a good friend of yours?
Yes, we were very close.
Less than a week later, he told Wayne Gordon
that he was no longer your dealer.
VARNER: Well, he was, uh...joking.
MASON: It was no joke, Mr. Varner.
I submit that Girard swindled you.
You wanted revenge.
So on the night of May 19th,
you went to the gallery, and there you killed him.
No! And after you killed him,
you exchanged the fraudulent Purple Woman for the genuine.
No, no! That's not true!
How else did you obtain the genuine painting?
I bought it from Girard.
You bought it?
Yes.
I was afraid that he'd tell someone the story
or Kovac would.
I had to protect myself.
They all would have laughed at me.
So you paid Girard twice?
Yes.
And how do you explain our finding this forgery
in Girard's office?
Girard insisted on its return.
I swear that's the truth.
I don't know what he wanted it for.
It was worthless.
Yes, you're right.
It was worthless. Completely worthless.
Tell me, Mr. Varner,
how did it feel to be taken in by a fifth-rate hack,
a man who had no more creative ability
than a three-year-old child?
That's a lie! I'm a great artist!
Let that man come forward.
( all chattering )
We will have order here.
You let me down, Mr. Mason.
Apparently, you haven't learned your lesson.
Yesterday, I sentenced you to 24 hours in jail.
I warned you there--
Your Honor, please, you must listen to me.
Silence! Your Honor...
may I say a word on Mr. Hubble's behalf?
Very well.
Mr. Hubble is a very disappointed man.
He feels he has a great talent.
Unfortunately, no expert agrees with him.
On one occasion, he painted a Gauguin for the deceased.
That's right!
Girard thought it was so good, he had it in his office,
right next to a Renoir.
But you testified you were never in that office, Mr. Hubble.
You said Miss Andrews wouldn't let you in.
Now, how did you know where the painting was hung?
You must have seen it there
on the night you killed him.
No.
I-I was there several times when--
When I was painting The Purple Woman.
I brought it over to show him how it was progressing.
Why did you testify that you did your work
in an old house owned by Mrs. Girard,
that Girard would visit you there to discuss your work?
Shall we have the reporter read back your testimony
on that point?
Never mind.
You're right. I killed him.
( all chattering )
He was a scoundrel and a cheat.
He promised, Your Honor.
He promised if I could fool Varner with a Van Hooten,
he'd give me a one-man show, where the world could learn
what Aaron Hubble could do on his own.
I'm a genius, Your Honor.
Oh, I say this in all modesty because it's the truth.
But Girard betrayed me.
And you betrayed me too.
I'm sorry, Mr. Hubble.
JUDGE: Bailiff.
No.
No, why should you be sorry?
What a fool I am.
You just got me a million dollars' worth of publicity.
I'm gonna have my one-man show yet.
JUDGE: The bailiff will take this man into custody.
Mr. Burger, you will take the necessary steps
for prosecution.
This hearing is adjourned.
( dramatic theme playing )
( gentle lounge music playing )
Well, Mr. Hubble finally got what he wanted.
His picture's in every paper in town.
Doing it the hard way.
What put you onto him, anyway?
When Varner admitted paying for the painting twice.
And when you exonerated Varner...
I had to look elsewhere.
Well, what about Doris Andrews?
You saw Doris on the stand, Della.
Paul, she was still in love with Girard.
Well, that left poor Aaron Hubble.
And you, uh, baited him into that outburst
by calling him a fifth-rate hack.
Well, I felt vanity was his Achilles' heel,
just as it was Varner's.
That's incredible.
Perry, I want to congratulate you.
That was a fine job you did in court today.
Well, Mr. Burger, you seem almost pleased.
I am.
Della, there was an article in The Law Journal recently.
Let me quote you the last paragraph.
"A well-tried criminal case is a credit to all involved.
"There is no winning or no losing
in the true administration of justice."
The article was signed Hamilton Burger.
Come on, sit down, Hamilton.
( dramatic theme playing )
( noirish jazz theme playing )