In this case, however, investigations were able to be conducted on the basis of reliable information. Dr. Engelhardt purchased the house on the Tegernsee where the folder was discovered from the producer Wohlfahrt (or rather, from the actual person who bears that name)—fully furnished and containing surprisingly complete files of commercial documents dating back to 1959—shortly before the producer (undoubtedly identical to the “supreme movie piglet” in Aristides’s Death of My Brother Abel) fled the country under multiple indictments for fraud and tax evasion. (Dr. Engelhardt surmises his current domicile to be somewhere in the Caribbean.) Full as they are of crackpot (if not intentionally fraudulent from the get-go) movie projects, the files clearly include not a single film with the faintest similarity to the one in Wohlfahrt’s preface, also described by Aristides in Abel, namely, the one entitled “The Lost Daughter.” In fact, both Wohlfahrt and Aristides make many implausible assertions about production details, especially that Nadine Carrier would play the lead role. But perhaps we can attribute that to an attempt at obfuscation by Aristides, which Wohlfahrt was all too happy to seize upon in order to substantiate his grotesque claim to the manuscript. In any event, as was to be expected, attempts to make inquiries of Madame Carrier were fruitless. The very number of individuals who had intimate relations with her over the years made a precise sifting of the evidence out of the question. The diva could not be cajoled into reading and commenting on the relevant passages in Abel (“There’s been so much written about me . . .”). So how did Wohlfahrt get his hands on Folder C? One thing the files from Wohlfahrt’s house on the Tegernsee prove beyond a doubt is his connection to the long-serving editor at Scherping Publishers, Johannes S.