Sherlock Holmes: Girl with the Gazelle 03/25/1946 (Rathbone & Bruce)

Summary

Podcast Summary:

Choice Classic Radio Detectives | Sherlock Holmes: Girl with the Gazelle (03/25/1946)
Featuring Basil Rathbone & Nigel Bruce
Release Date: March 13, 2026

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Overview of the Episode

In this classic radio drama, Sherlock Holmes and Dr. Watson become embroiled in an art world mystery involving a threatened masterpiece, “Young Girl with a Gazelle” by Jean Baptiste Greuze. The plot thickens with threatening notes, a mysterious French art expert, an ingenious theft, and Holmes’s perennial nemesis—Professor Moriarty. Through clever deduction, disguise, and science, Holmes reveals an audacious scheme that attempts to part a wealthy collector from his prized painting.

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Key Discussion Points and Insights

1. Moriarty’s Shadow and the Inciting Letter

• Holmes begins by discussing Professor Moriarty’s notorious reach within London’s criminal underworld, describing him as “the Napoleon of crime.” (02:31)
• Holmes receives a mysterious letter from Francois du Lac, who claims his life is in danger and requests Holmes's help at the Carlton Hotel. (04:05)
• Upon arrival at the hotel, Holmes and Watson find du Lac missing, his room empty except for a fresh bloodstain on the carpet. (05:54)

2. Investigating the Hotel Disappearance

• The hotel manager describes du Lac's visitor: “A very tall gentleman. Tall and thin, with deep sunk eyes... a funny way of moving his head from side to side.” (06:39)
  • Holmes and Watson immediately suspect the involvement of Professor Moriarty (“almost an exact description of Moriarty.” [06:55]).
• The manager also notes that packages, but not luggage, were taken out of the hotel, and that Sir Henry Davenant has been trying urgently to contact du Lac. (07:08-07:21)

3. Holmes's Disguise and Entry to the Davenant Home

• Holmes devises a plan to impersonate a French art expert (“If a Greuze expert is what he wants, then a Greuze expert is what he's going to get.” [08:13]) and gains access to Sir Henry’s household alongside Watson.
• The duo meet Violet Jackson, Sir Henry’s art assistant, who gives them a tour of the gallery. (10:17-10:28)
• Sir Henry expresses anxiety over the safety of his priceless Greuze painting, having received threats after purchasing it at auction where a “tall, clean-shaven man” with a “curious habit of moving his head from side to side” (a Moriarty trademark) was a rival bidder. (13:51-13:59)

4. The Sealed Room and the Missing Painting

• Sir Henry keeps the Greuze painting in a specially secured strongroom—accessible only via a combination lock and timed entry system. (14:05)
• Holmes and Watson are present when Sir Henry receives another ominous note: “I told you you wouldn't enjoy the painting for long. You didn't, did you?” (15:47)
• The painting remains in place, but Holmes proposes a scientific test to verify its authenticity. Watson quips, “I think it's a dash fine bit of work, whoever painted it.” (18:48)

5. Revelation: The Masterpiece is a Fake

• Chemical analysis of a paint sample reveals the painting is a modern fake: “The sample of paint that I examined was manufactured not more than 25 years ago and Greuze died in 1805.” (19:26)
• Sir Henry, distraught, nearly destroys the painting: “I'm going to use this knife to smash that lying canvas into 40,000 pieces.” (20:01)
• Violet Jackson offers to buy the fake, and Sir Henry, wanting no forgeries in his collection, gives it to her freely. (20:36-20:48)

6. Double-Cross and Holmes’s Deduction

• Holmes and his companions, while discussing locked room logistics, discover Violet Jackson’s mathematical interests—her copy of “Dynamics of an Asteroid” inscribed by Professor Moriarty—revealing her as an accomplice. (22:41-22:53)
• Suddenly, Violet Jackson locks Holmes, Watson, and Sir Henry inside the strongroom and leaves a note explaining her escape and her intent to delay their pursuit:
  • “Forgive my unladylike eavesdropping, but with Mr. Sherlock Holmes as near the truth as he is, I'm afraid it would be unwise for me to remain here any longer... your imprisonment should delay my pursuit till morning.” (23:23)

7. The Final Twist: The Original Never Left the Room

• Holmes deduces the painting was never exchanged:
  • “You reminded me of my own dictum, Watson. I discarded the impossible. It was impossible that the picture had been stolen, therefore it had not been stolen.” (24:13)
  • The ‘proof’ of forgery was faked by scraping modern paint and passing it off as a sample; Violet and Moriarty's plan was to have Sir Henry willingly hand over the “fake”—which was actually the original.
• Holmes sums up: “A devilishly clever one, old chap. If it hadn't been for your chance remark about the book of mathematics, Sir Henry. I'm very much afraid the young lady with the gazelle might even now be on her way out of your house.” (25:36-25:47)

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Notable Quotes & Memorable Moments

• Holmes on Moriarty:
  • “He himself sits motionless like a spider in the center of his web. But that web has a thousand radiations, and he knows every quiver of each one.” (02:39 – Holmes)
• Holmes on Unsolvable Mysteries:
  • “I refuse to believe that in the 19th century a distinguished foreigner can vanish into thin air.” (06:07 – Holmes)
• Sir Henry on His Anxiety:
  • “I hardly dare trust my own shadow. As you possibly know, one of Greuze’s pupils, a certain Madame Ledoux, imitated his paintings most successfully ... I’ve been frightened lately ... that a clever man might try and substitute a fake painting for the original, if indeed he hasn’t already done so.” (14:28 – Sir Henry)
• Holmes’s Deductive Maxim:
  • Watson: “Remember what you always say, Holmes. Throw out the impossible and whatever remains, no matter how improbable, must be the possible.”
    • (22:11)
• Holmes, at the reveal:
  • “You reminded me of my own dictum, Watson. I discarded the impossible. It was impossible that the picture had been stolen, therefore it had not been stolen.” (24:13 – Holmes)
• Holmes on the caper’s ingenuity:
  • “A devilishly clever one, old chap. If it hadn't been for your chance remark about the book of mathematics... the young lady with the gazelle might even now be on her way out of your house.” (25:36 – Holmes)

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Timestamps for Important Segments

• [02:31] Holmes discusses Professor Moriarty.
• [04:05] Holmes reads du Lac’s letter.
• [05:54] Discovery of blood at the hotel.
• [06:39] Hotel manager describes the visitor, implicating Moriarty.
• [08:13] Holmes decides to impersonate a French art expert.
• [10:28] Introduction to Violet Jackson and Sir Henry’s gallery.
• [13:51] Sir Henry describes his rival bidder (Moriarty).
• [14:05] Description of the secure strongroom.
• [15:47] Sir Henry receives another threatening note.
• [17:56] Examination of the “young girl with the gazelle.”
• [19:26] Holmes reveals the painting is a modern fake.
• [20:40] Violet Jackson obtains the painting (the supposed fake).
• [22:53] Discovery of “Dynamics of an Asteroid” inscribed by Moriarty.
• [23:23] Lock-in and Violet’s departure note.
• [24:13-25:47] Holmes unravels the true plot.
• [26:19] The trio awaits rescue, locked in with the priceless painting.

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Episode Highlights & Tone

The episode masterfully blends suspense, wit, and classic Holmesian deduction—full of colorful disguises, cryptic threats, and a locked-room puzzle. Basil Rathbone’s Holmes is incisive and energetic, while Nigel Bruce’s Watson provides humor and relatable wonder. The supporting cast, particularly Sir Henry and Violet Jackson, contribute tension and intrigue. The script is brisk, clever, and keeps listeners guessing, culminating in a supremely satisfying twist.

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For Those Who Haven’t Listened

This adaptation of Sherlock Holmes’s adventure is an enthralling, self-contained mystery that showcases Holmes at his best: combining disguise, chemistry, logic, and human insight. It is ideal for both old-time radio fans and newcomers to classic detective fiction. The episode’s plot structure, memorable lines, and classic locked room scenario make it both intellectually engaging and highly entertaining.

Transcript

[A]

Welcome to Choice Classic Radio where we bring to you the greatest old time radio shows like us on Facebook, subscribe to us on YouTube and thank you for [e-mail] Petri wine brings you Basil

[B]

Rathbone and Nigel Bruce in the new adventures of Sherlock Holmes. The Petrie family, the family that took time to bring you good wine, invite you to listen to Dr. Watson tell us another exciting adventure he shared with his old friend, that master detective, Sherlock Holmes. And as for me, well, I'd like to talk about those few minutes you have while you're waiting for dinner every evening. That's the perfect time for a glass of Petri California sherry. Petri sherry is the best beginning a good meal ever had. You really feel like you're enjoying the good things of life when you take time for a glass of Petri sherry. Hold that glass of sherry to the light. Look at it. It's a beautiful dark amber. Yes, And Petri sherry is clear and fragrant, the way a good wine should be. Now taste it. You've got something. That Petri sherry has a real heart of the grape flavor. Oh, and look, if you like your sherry dry, you know, not sweet. Petri makes a fine dry sherry. It's called Petri Pale dry. And if you don't know yet which you prefer, the regular sherry or the dry, why not try both? Don't buy one, buy two. But just be sure you always buy. Petra. And now let's look in on our old friend Dr. Watson. I'm sure he's expecting us. Good evening, doctor.

[C]

Good evening, Mr. Bartell. Draw up your usual chair. Now get on with tonight's new Sherlock Holmes adventure.

[B]

Well, how did the story begin, Doctor?

[C]

One day in the autumn of 1887, I remember, Holmes and I were seated on either side of the fire in our Baker street lodging. The great man, his eyes half closed, his long thin fingers pressed together, lay back in his chair, filling the room with large blue clouds of tobacco smoke and discoursing on one of his favorite subjects, Professor Moriarty. I can almost Hear him now, Mr. Bartell.

[D]

As he said, Napoleon of crime. Watson, he is the organizer of half that is evil and of nearly all that is undetected in this great metropolis.

[C]

Oh, surely that's an exaggeration.

[D]

Is it? My dear fellow, he has a brain of the first order, and his agents are numerous and splendidly organized. He himself sits motionless like a spider in the center of his web. But that web has a thousand radiations, and he knows every quiver of each one. Of them. It's fortunate for me that there's only one Moriarty. If every criminal were equally astute I'd be in bankruptcy within the year.

[C]

I don't think you need to worry about bankruptcy, Holmes. As I came in just now I picked these letters up from the whole

[D]

table and put them into my pocket. Oh thanks old chef.

[C]

They didn't look like bills to me. I observed the crest of the Duke of Carlisle on the top envelope.

[D]

500 guineas. His Grace is extremely generous in his evaluation of my services.

[C]

I don't agree. After all, you did save him from a shocking scandal.

[D]

Oh, listen to this Watson.

[E]

I seen you yesterday when you come to the cricket match. You wasn't watching the cricket. If you value your life, keep your filthy long nose to yourself.

[D]

And it's signed Joe the Butcher.

[C]

Who on earth? Joe the Butcher.

[D]

Oh, am I? A criminal that I was instrumental in sending to prison for a short term flatters himself though. I was watching the cricket. No idea that Joe was back in practice again. I must keep an eye on him. Hello. Letter on Carlton Hotel stationery. I said this is interesting, very interesting.

[C]

Oh yeah.

[D]

Mr. Holmes, I've been informed that you are a man of ability and discretion. My life is in grave danger and I need your help. Upon receipt of this letter, come to my hotel at once. I shall be expecting you. And it's signed Francois du Lac.

[C]

Rather, isn't it? No, please, just come to my hotel at once. Who is this du Lac anyway?

[D]

What Snow fellow, huh? We were talking of Moriarty just now. I have a feeling that this letter may lead us to him.

[C]

Well what makes you say that?

[D]

Francois du Lac, the writer of this letter, is recognized in France as the one indisputable authority on the paintings of Jean Baptiste Greuze.

[C]

Well, I still don't see the connection with Moriarty.

[D]

If there is one thing Moriarty loves more than the dazzling abstractions of mathematics and even more dazzling achievements of crime, it is the paintings of Greuze. The suggested combination of impending danger and a Greuze expert spells Moriarty to me. Get your hat and coat off along. We're off to the Carton Hotel to see Mon Dac at once.

[C]

This is room 212. All right, but there's no answer.

[D]

Unlock again.

[C]

I go and get someone to unlock the door.

[D]

No, no, don't want to attract attention to our prospective clown till locks wouldn't be very hard to pick. Here. Skeleton key should do the trick quite easily.

[C]

Well, the man at the desk Downstairs said that Mr. Delac was in his room.

[D]

You know Watson, he said he thought he was in his room. Uh huh. Easier than I anticipated. Come on, let's go in.

[C]

Doesn't look as if anyone's occupying this room. No signs of any personal belongings.

[D]

No clothes hanging in the wardrobe, no luggage.

[C]

Yet he is still registered here.

[D]

Hello. What's this stain on the carpet by the bed here? Great Scott, it's a blood stain, Watson. And the stain is still damp. I'm afraid we're too late. Come on, do no more good here.

[C]

You're not giving up Holmes?

[D]

No, of course not my dear fellow. Let's see what we can find out from the hotel manager. I refuse to believe that in the 19th century a distinguished foreigner can vanish into thin air.

[F]

Yes, Monsieur Du Lac did have a visitor early on today, Mr. Holmes.

[D]

Do you remember his name?

[F]

I think it was Perkins or Parsons, but I'm not sure.

[D]

Can you describe his appearance?

[F]

I think so Mr. Holmes. He was a very tall gentleman. Tall and thin, with deep sunk eyes.

[D]

Clean shaven?

[F]

Oh yes sir. He had a high forehead and a funny way of moving his head from side to side.

[C]

Oh yes, Joe Holmes, that's almost an exact description of Moriarty.

[D]

Exactly. Watson, have you seen Monsieur delac Since this Mr. Perkins or Parsons called on him?

[F]

No I haven't sir. But his visitor came back only an hour ago. He had some men with him. They carried some large packages out of the hotel.

[D]

Packages but not luggage, eh?

[F]

No packages, Mr. Holmes.

[D]

Has M. Du Lac received any other visitors since he arrived here?

[F]

None that have been here to see him sir. But I understand that Sir Henry Davenant has been most anxious to get in touch with him.

[D]

Sir Henry Davenant. Thank you. I'm extremely obliged to you. Come on Watson.

[F]

Always proud to be of service to Mr. Sherlock Holmes.

[D]

The plot begins to clear, Watson.

[C]

What makes you say that, huh?

[D]

Sir Henry Davenant is a millionaire whose art collection is world famous. Years ago the papers were full of his latest acquisition, the gem of his collection, Jean Baptiste Greu's painting Young Girl with a Gazelle. And now it would appear that for some reason Moriarty wishes to prevent a meeting between Sir Harry Davenant and Monsieur Dulac, a greuze expert. Now do you see why the plot begins to clear?

[C]

Vaguely. But what are you going to do?

[D]

Davenant said to there's something of a hermit. He won't have anything to do with officials, interviewers and people like that. But we know that he wishes to consult an expert on the paintings of Jean Baptiste Grand Grs. The Next move should be obvious, old chap.

[C]

Gracious me. You mean that you'll impersonate one?

[D]

Certainly. If a GR expert is what he wants, then a GR expert is what he's going to get.

[C]

Holmes, I must say your disguise is amazingly effective.

[D]

I miss you.

[E]

You do me the great honor if I appear convincing. To the astute Dr. Watson, how can I fail to convince Sir Henry Devereaux?

[C]

Oh, my dear fellow, it's marvelous. Appallingly good.

[D]

Here we are, sir. Sir Henry's house. Let's hope for the best, old fellow.

[C]

I don't know exactly what a French art expert looks like, but I could certainly believe that you were one. I only hope that I can be equally convincing in the role of a patron of the arts.

[D]

You certainly look your part. Old chapter.

[G]

Good afternoon.

[B]

Can I help you?

[E]

My name is Vernet, Andre Vernet.

[D]

I am most anxious to make the acquaintance of Sir Henry Duron.

[G]

I'm afraid that Sir Henry is extremely difficult to see, sir.

[B]

I can tell him you're here, but

[G]

he very rarely gives interviews.

[E]

That is a great disappointment to me. Perhaps you would just go and tell him I am a pupil and a disciple of the great Francois du Lac.

[B]

I will do what I can, sir. Come in, won't you, gentlemen, if you'll wait here for a moment, I'll take your message.

[D]

What was the name again?

[E]

And this gentleman is Mr. Watson. Very good, sir.

[C]

Well, we got into the house. Now let's hope that you can impress the master of it.

[D]

Now there's easier task I fear. Author. I've had to match opinions on the paintings of Greuze with an expert. My own knowledge of the subject is somewhat sketchy, I'm afraid.

[C]

Mine is absolutely nil.

[D]

Gurs was a naturalistic painter who flourished at the close of the 18th century and though his paintings command a fabulous fee in this day and age, he himself died in great poverty. Shh, shh.

[C]

Someone's coming.

[H]

Monsieur Vernet, will you and Mr. Watson come with me please? Sir Henry is most anxious to meet you.

[E]

Merci, mademoiselle.

[H]

My name is Violet Jackson. I look after Sir Henry's art collection.

[C]

Indeed a very pleasurable job, I'm sure, my dear. From what I hear he has a magnificent gallery.

[H]

He has one of the finest in the world. His latest acquisition is the famous young girl with the gazelle like Rose. Oh, but I'm sure you know all about that. Monsieur Vernet, I think you said in your message you were a student of the great du Lac.

[E]

I have that inestimable privilege, mademoiselle.

[H]

This is Sir Henry's study.

[G]

Oh, thank you Violet.

[D]

You may go.

[H]

Yes, Sir Henry.

[G]

You're Vernon, I'm sure And this is Mr. Watson.

[C]

That's right. Sir Henry Verney is staying with me.

[D]

I see.

[G]

Well sit down won't you? Look Vernie, you're a friend of Dulac's, aren't you?

[E]

I think I may claim that on her, monsieur.

[G]

Then why in thunder can't I get in touch with him? He's staying at the Carlton Hotel, isn't he?

[E]

He was or has been staying there, Monsieur.

[B]

We.

[G]

I've left half a dozen messages for him asking him to come and see me and he hasn't answered one of them. I can't understand it. It's most important that I see him.

[E]

Monsieur is in some trouble. Perhaps.

[G]

Perhaps. Now you fellows are familiar with the painting by Greu, the Young lady with the Gazelle, aren't you?

[C]

Oh yes, Sir Henry, yes indeed.

[G]

Oh you are. What do you think of it?

[E]

Well, one of the greatest FS in my humble opinion, monsieur. Of course I have only seen a reproduction but it seemed to me to have expressed some vigor of the flesh tint, a great firmness and brilliance of line. You are indeed fortunate to own it, monsieur.

[G]

Don't know about fortunate. Cost me £40,000.

[E]

I still say you are most fortunate, monsieur. Would you grant me the honor of to examine the original?

[G]

Well I don't know whether I ought to. I've had to guard it very carefully ever since this. But perhaps in your case I can make an exception.

[C]

You received threats regarding the paintings to Henry?

[G]

Yes, I have, Mr. Watson. And they worried me so much that I've even thought of engaging the services of a private detective.

[E]

Oh indeed monsieur. How very interesting.

[G]

The Duke of Carlisle strongly recommended a fellow by the name of Sherlock Holmes. I was seriously thinking of going to him.

[D]

Instead of which he has come to you, Sir Henry. A fact that will save us all a lot of time, I'm sure.

[G]

What kind of horseplay is this, sir? Who the devil are you?

[D]

My name is Sherlock Holmes.

[G]

Then why do you come here masquerading as a French Arctic?

[D]

Because I. I'd heard of your aversion to giving interviews and I wanted to see you urgently. I felt that in the character of a supposed growers expert I was most likely to gain immediate admission.

[B]

What?

[G]

And your friend here, Dr. Watson, my colleague.

[C]

Well it's all turned out for the best, Sir Henry. You wanted to consult Mr. Holmes and he was most anxious to see You?

[G]

Yes, yes, yes. Well, I'm glad you fellows are here. You see, I'm devilish worried about that growers of mine.

[D]

Oh, why, Sir Henry?

[G]

Well, I bought it at an auction. There was another man bidding against me all the time and when it was finally knocked down in my name, he became most insulting. He seemed unable to bear not owning the picture himself. He told me bluntly that I wouldn't enjoy it long. I didn't think much about it at the time, but lately I've been receiving postcards repeating the threat. I don't like it. That's a fact.

[C]

Well, you've kept those postcards I hope, Sir Henry?

[G]

No, threw them in the pyre where they belong.

[D]

Oh, that's a pity. Sir, can you recall the name of this bidder at the auction who threatened you?

[G]

No, didn't know his name.

[D]

Can you describe his appearance?

[G]

Well, let me see. He was tall, clean shaven and a curious habit of moving his head from side to side.

[C]

Mariachi again?

[D]

Yes, old chap, my supposition was correct. Tell Mr. Henry. Is the painting safely guarded?

[G]

Well, I'd say that it was impregnable, Holmes. It's not in my regular galleries. I had a special strong room built for it when I started to receive these threats. It has a lock to which only I know the combination, and a special clockwork device that so controls the room that even I can only enter it during certain daytime hours.

[D]

And yet, Sir Henry, with such thorough precautions. You appear to be frightened. Why?

[G]

Well, I hardly dare trust my own shadow home. As you possibly know, one of Greuz's pupils, a certain Madame Ledoux, imitated his paintings most successfully, though several of the experts were fooled. I confess that I've been frightened lately since I received the threat that a clever man might try and substitute a fake painting for the original, if indeed he hasn't already done so. That's why I was so anxious to get in touch with du Lac. He'd know a fraud at once.

[C]

A substitution would be impossible if you're the only one that knows the combination to the lock of the strong room.

[G]

Well, that's what my logic tells me too, Doctor. Yet I'm very uneasy, I must confess.

[D]

It's still daylight. Sir Henry, would it be possible for us to examine the painting now?

[G]

Certainly. By the way, what happened to Francois de Lappe? Did he leave the Carton Hotel?

[C]

He did, sir. The circumstances of his departure made us distinctly uneasy.

[G]

In what way?

[D]

His room was empty, there were no signs of luggage. And yet come in.

[G]

Yes, Violet, what is it?

[H]

This note was just left for you, Sir Henry. I was asked to deliver it at once.

[D]

Who left it?

[G]

Violet?

[H]

He didn't give his name for Henry, but he was a tall thin man with deep sunk eyes.

[B]

Oh.

[D]

What's the note say? Wait.

[G]

It's the same fellow again. Listen to this. I told you you wouldn't enjoy the painting for long. You didn't, did you?

[C]

Great Scott, it's Mariah Holmes.

[G]

I don't see anything funny about this. What makes you laugh? It's obvious that my painting has been stolen.

[D]

I find nothing funny about it either Sir Henry, but I must admit a certain pleasure. Once again I'm crossing swords with an adversary who was more than worthy of my steel.

[B]

You'll hear the rest of Dr. Watson's story in just a second. So I'm just going to remind you that Petri Sherry could really be called the all round all American wife. That's right, Petri California Sherry. Now the reason I say that is because Petri Sherry is not only a swell before dinner wine but it's a perfect wine for almost any occasion when company drops in. Serve Petri Sherry after dinner when you're just sitting around chatting. Petri Sherry again is just right. Believe me, you couldn't ask for a better all round wine than Sherry. You couldn't ask for a better tasting sherry than Petri. Petri Sherry. Well Dr. Watson, you've kept me on the edge of my chair so far with your story. What happened next? Did Sir Henry Davenant take you to see his famous painting?

[C]

He did, Mr. Bartel. Together with Miss Violet Jackson we descended countless flights of stairs. Doors opened where no one expected a door to exist. Finally, after walking down a narrow stone staircase which turned and twisted, we came up against a blank wall. It seemed that we could go no further, but a time clock, a combination of numbers and a hidden door slid back. We stood in the interior of a small room, a room with no windows and hardly any light. Noel painting stood on an easel before us. This incomparable girl's painting of a young girl with the gazelle. We stood looking at it for a brief moment and then the Henry government.

[G]

The painting is still safe.

[D]

Yes, Sir Henry, if it still is the same painting.

[H]

It looks the same Mr. Holmes.

[C]

Certainly does to me.

[D]

The fact remains that only Francois du Lac could tell us if it is the same or a brilliant copy.

[C]

Yes, Monsieur du Lac has been silent sight would seem.

[D]

Of course we could ask the expert at the British Museum to pass judgment.

[G]

Yeah, but how could it have been stolen. It'd be impossible to smuggle it out of here and replace it with a copy.

[D]

There's only one way of being absolutely certain. With your permission, Sir Henry, I should like to make a test.

[H]

You're going to take a sample of the paint, Mr. Holmes?

[D]

Yes. That should give us certain proof. Well, very well.

[G]

You'd better do it, Violet, but be careful. Remember the painting cost me £40,000.

[H]

My new fragment of paint will be sufficient for the test, won't it, Mr. Holmes?

[E]

Yes, indeed.

[H]

With my fingernails, Sir Henry, I'll scratch off a tiny sample.

[C]

Firstly, I think it's a dash fine bit of work, whoever painted it.

[H]

There you are, Mr. Holmes. Is that enough?

[D]

Splendid, Miss Jackson, splendid, thank you. Please put it on this envelope for me, will you? That's it. And now, Sir Henry, I shall return to Big street and analyze this paint. Within an hour I should be able to tell you whether the painting is worth £40,000 or a plug farthing. Well?

[G]

Well, Holmes, did you make the test?

[D]

I did, Sir Henry, and I'm afraid there's no doubt that your painting is a fraud. A fraud? Sample of paint that I examined was manufactured not more than 25 years ago and Greuze died in 1805.

[C]

Well, I still say that it's a fine painting. Who ever did it wouldn't mind having it was So.

[H]

I agree, Dr. Watson. In fact, I'd be glad to buy it. It's a brilliant copy and more than likely it was done by Madame Ledoux.

[D]

You're remarkably quiet, Sir Henry.

[G]

£40,000.

[C]

£40,000. No, no, no, sir. Put that knife down, Holmes. Help me grab him.

[G]

Don't worry, gentlemen, I'm not about to commit suicide in despair, if that's what you're thinking.

[D]

Now why are you grasping that knife, sir?

[G]

Because I have work to do in my strong room. I'm going to use this knife to smash that lying canvas into 40,000 pieces. Yes, well, I suppose you're right, Violet. It's childish to mutilate this daub.

[H]

It's a brilliant fraud, Sir Henry. I'd like to have it. I'll buy it from you gladly.

[D]

Buy it from me? You can have it.

[G]

Go and make arrangements to have the wretched thing taken away at once. I don't want any frauds in my collection.

[H]

Yes, Sir Henry, and thank you.

[G]

Now, Mr. Sherlock Holmes, I'll pay you any fee you name if you can tell me how the original painting was stolen.

[D]

Well, Sir Henry, the how must here precede the who and the how I must confess, seems impossible.

[C]

This is a sealed metal room. The only entrance is through the door that has a combination that only you know, Sir Henry.

[D]

Perfectly true.

[G]

It's impossible for anyone to enter this room without my being present or I

[D]

would have sworn it was. Examine these walls, Watson. Might be a secret panel. Uh huh. Ventilator. No method of entrance here.

[G]

Well you'll find no flaws I'm sure. This room is built like a giant sick. And the time lock on the door is equally solid.

[D]

Is the time lock working now?

[G]

Yes, it started five minutes ago when we opened the door. But don't worry, it's perfectly safe with the door open.

[C]

But when the door's closed it couldn't be reopened again I take it Sir

[D]

Henry, not until the morning, Doctor?

[G]

No, I had the lock specially designed.

[D]

Very ingenious. This presents as pretty a problem as ever I've tackled, Sir Henry. A large painting stolen and a fake one substituted in a sealed room to which only you have access. Must confess, the how seems utterly impossible.

[C]

Remember what you always say Holmes. Throw out the impossible and whatever remains, no matter how improbable, must be the possible.

[D]

Let's consider the who for a moment. Is your butler absolutely reliable?

[G]

Absolutely.

[D]

How about Ms. Jackson?

[G]

Oh, completely trustworthy. Brought letters of recommendation from most of the leading art galleries in London. Intelligent too, and serious minded. He's made a deep study of mathematics as well as her knowledge of painting.

[D]

Mathematics? How do you know that, Sir Henry?

[G]

Well she had a book with her the other day. I was surprised that the title could

[D]

have been a novel.

[G]

But no, it was called the Dynamics of an Asteroid and it was inscribed to her by the author.

[D]

Dynamics of an Asteroid? And inscribed to her by the author. Thank heavens for your memories, Henry. That book was written by Professor Moriarty. Violet Jackson must be an accomplice of his.

[G]

Violet?

[C]

The door. Someone slammed it shut.

[D]

Yes, and it's not very hard to guess who that someone is.

[G]

Oh but I, I can't believe that

[C]

There's a note being pushed under the door.

[D]

Strike a match, will you old fellow?

[C]

What's it say, Holmes?

[D]

Forgive my unladylike eavesdropping, but with Mr. Sherlock Holmes as near the truth as he is, I'm afraid it would be unwise for me to remain here any longer. On the other hand, you are in no danger of smothering in the strong room. But your imprisonment should delay my pursuit till morning. Marla Jackson, she's escaped at.

[C]

Holmes.

[D]

Don't worry Watson. Jackson's failure to procure the painting for Moriarty will land her in a far worse dilemma than anything we could subject her to. Moriarty has never tolerated failure on the part of his minions. A brilliant plot, Ortho, a brilliant plot. Mariati is at the zenith of his powers. How fortunate that we were able to foil him.

[G]

What do you mean foil him? My painting's been stolen.

[D]

Your paintings, Henry? Oh no, no, no, no.

[B]

It's.

[D]

It's here in this room.

[C]

What on earth are you talking about, Holmes?

[D]

You reminded me of my own dictum, Watson. I discarded the impossible. It was impossible that the picture had been stolen, therefore it had not been stolen.

[G]

You mean that this painting is the original?

[D]

Good. Yes, of course, sir. Surely the whole plot is crystal clear now.

[C]

Just about as clear as porridge to me.

[D]

Well then let me explain. The whole episode of Francois du Lac, the note to be, the empty hotel room and the significant blood stains and the apparent disappearance of du Lac were all part of Moriarty's plot. The real du Lac never left France. Moriarty created him in England to lure me into the case.

[C]

Why in thunder should he want to do that, Holmes?

[G]

Yes, I should think you're the last person he'd want.

[D]

On the. On the contrary, sir, he knew that I'd grab at his bait. The apparent murder. A Greer's expert would make it seem likely that your painting had a substitute, Sir Henry. He wanted me to test the painting, which I did. I fell into his trap very neatly.

[C]

The paint, Holmes, you said that it was no more than 20 years old.

[D]

Yes, my dear fellow, the answer should be obvious. I see it.

[G]

Violet was his accomplice, had prepared the painting beforehand and carefully scraped off a piece of modern paint.

[D]

Exactly, Sir Henry. And Moriarty had assumed, quite correctly as it turned out, that as soon as you thought your painting was a fraud, you'd want to get rid of it.

[C]

And that girl was going to take it out of this house with your full approval. And of course turn it over to Moriarty. What a fantastic scheme.

[D]

A devilishly clever one, old chap. If it hadn't been for your chance remark about the book of mathematics, Sir Henry. I'm very much afraid the young lady with the gazelle might even now be on her way out of your house.

[G]

Holmes, I can't tell you how grateful I am. And I'm going to express that gratitude in a very material manner, I assure you.

[D]

Thank you, Sir Henry, but I wouldn't dream of accepting a fee for this case. I've been shockingly obtuse. I might easily have let them walk away with your treasure right under our noses.

[C]

We locked in here for the night, sir?

[G]

I'm very much afraid so, Dr. Watson. Though I shouldn't be surprised if the butler notices our disappearance and comes looking for us. But he won't be able to open the door. It'll need a professional locksmith to get us out of here.

[C]

Oh, really? It looks as if we'll spend a very cheerful evening.

[D]

Ah, don't be gloomy, my dear fellow. You're locked in with one of the loveliest girls in history. And she's genuine at that. Strike another match, old Jap. Shall we? What? Let's. Let's look at her once again.

[B]

Well, Doctor, that was not only a swell story, but I really learned something.

[C]

Oh, good, good, good, Mr. Bartel. And just what did you learn?

[B]

Well, this fellow gre, the painter.

[C]

Yeah.

[B]

I know this must sound stupid to you, but until you mentioned his name, I'd never heard of him before.

[C]

Holmes mentioned his name to me. I've never heard him before either. But then we will never learn about the good things in this world unless somebody tells us.

[B]

Exactly. That's the way I feel about Petri wine.

[C]

Wait a minute.

[B]

Now, here's the way I look at it. There are thousands of people who know about Petri wine and love it, right? But even though it's a wonderful wine, there must be some people who don't know about it. So I tell them about it. And I tell them about the Petri family and how they've been making wine for generations. And how they've been handing on down from father to son, from father to son the fine art of turning luscious grapes into delicious wine. Yes. And when I tell them that the name Petri on a bottle of wine is the personal assurance of the Petri family that every drop of wine in that bottle is good wine. Well, that's all you have to know. So it adds up to this. If you want a fine wine for any occasion, you want a Petri wine. Because Petri took time to bring you good wine. Tonight, Sherlock Holmes Adventure was written by Dennis Green and Anthony Boucher and was suggested by an incident in Sir Arthur Conan Doyle's story, the Final Problem. Music is by Dean Fossler. Mr. Rathbone appears through the courtesy of Metro Goldwyn Mayer and Mr. Bruce through the courtesy of Universal Pictures, where they are now starring in the Sherlock Holmes series. The Petri Wine Company of San Francisco, California. Invite you to tune in again next week, same time, same station. Sherlock Holmes comes to you from our Hollywood studio. This is Harry Bartel saying good night for the Petrie family. This is the Mutual Broadcasting System.