Moved by prison train to a jail near Geneva, Stéphane Breitwieser is introduced to Alexandre Von der Mühll, the Swiss art-crime detective who has pursued him for years. Eschewing intimidation, Von der Mühll flatters Breitwieser as a fellow collector and begins methodical interviews, covering the canal-recovered objects and then expanding to thefts across seven countries.

Over weeks of daily sessions, the detective builds rapport while keeping the case from the press. Breitwieser offers detailed accounts and admits dozens more thefts, but minimizes Anne-Catherine’s involvement and claims his mother knew nothing, even keeping coded notes to stay consistent. Von der Mühll tolerates these omissions to maintain cooperation.

When trust seems secure, Von der Mühll raises the missing paintings. Breitwieser blurts that he stole sixty-nine Renaissance paintings and says he last saw them in the attic. Von der Mühll reveals the attic was emptied, and Breitwieser, genuinely bewildered, insists he has no idea where the paintings are. The detective concludes Breitwieser likely isn’t hiding them.

A judge authorizes a meeting with Breitwieser’s mother, Mireille Stengel, under immunity. In chambers, she flatly denies any knowledge of paintings and the session ends quickly. In a brief private moment, she hugs her son and whispers, "Don't mention the paintings"—a stark warning that hints at a concealed and troubling fate for the works.