First broadcast 12th March 1989.
A deck with a missing card provides Poirot with the clue he needs to solve the murder of the tyrannical head of a movie studio.
David Suchet ... Hercule Poirot
Hugh Fraser ... Captain Hastings
Philip Jackson ... Chief Inspector Japp
Niamh Cusack ... Valerie Saintclair
David Swift ... Henry Reedburn
Jonathan Coy ... Bunny Saunders
Jack Klaff ... Prince Paul of Maurania
Rosie Timpson ... Miss Deloy
Gawn Grainger ... Ralph Walton
Marc Culwick ... Young Man(as Mark Culwick)
Vass Anderson ... Frampton
Avril Elgar ... Mrs Oglander(as Avril Elga)
Abigail Cruttenden ... Geraldine Oglander
Sean Pertwee ... Ronnie Oglander
Cathy Murphy ... Maid
Jeffrey Harmer ... Assistant Director
A deck with a missing card provides Poirot with the clue he needs to solve the murder of the tyrannical head of a movie studio.
David Suchet ... Hercule Poirot
Hugh Fraser ... Captain Hastings
Philip Jackson ... Chief Inspector Japp
Niamh Cusack ... Valerie Saintclair
David Swift ... Henry Reedburn
Jonathan Coy ... Bunny Saunders
Jack Klaff ... Prince Paul of Maurania
Rosie Timpson ... Miss Deloy
Gawn Grainger ... Ralph Walton
Marc Culwick ... Young Man(as Mark Culwick)
Vass Anderson ... Frampton
Avril Elgar ... Mrs Oglander(as Avril Elga)
Abigail Cruttenden ... Geraldine Oglander
Sean Pertwee ... Ronnie Oglander
Cathy Murphy ... Maid
Jeffrey Harmer ... Assistant Director
Category
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TVTranscript
00:00I'm not sure we should expect to see each other again.
00:26I couldn't bear that. I have to see you again.
00:28Please.
00:32God, you're so beautiful.
00:35Ahmed.
00:38I'm married.
00:40No, no, no!
00:43All right, everybody, cut.
00:45Cut.
00:47Will someone please tell me what these actors are meant to be doing?
00:50I'm wrong. I must be wrong.
00:52I thought this was a love scene.
00:54My dear Valerie, you are not discussing the weather with this man.
00:59You are about to commit adultery with him.
01:05Make a big pause before you say, I'm married.
01:08Ahmed, count to five.
01:11You turn, then say you're live.
01:13Okay.
01:14Okay. Let's see it.
01:28Ahmed.
01:29I'm married.
01:33Now, darling, can you count to five?
01:36I did.
01:37Count to ten, then.
01:39This is no hide-and-seek counting, my dear.
01:42One, two, three, four, five, six, seven, eight, nine, ten.
01:51You got it?
02:04Good morning.
02:05Captain Hastings and Monsieur Poirot.
02:07Guests of Bunny Saunders.
02:08Ah, yes, sir.
02:09Very young, of course, to be directing his first picture.
02:13But what a break, getting Valerie Sinclair to star.
02:15Yes.
02:16Films are very boring, Hastings.
02:18But the actors who are paid to deceive us, now they are interesting, huh?
02:29Quiet on the set.
02:33Red light impelled.
02:35It's two-one-eight, take eleven.
02:45Action.
02:47What was that Ahmed doing here?
02:49He's come to see to the horses.
02:51Ah.
02:52That's his...
02:53excuse, is it?
02:56Is that not Ralph Walter?
02:58He spends...
02:58He was a big star before the talkies.
03:00Shh.
03:01With the horses.
03:03Spends too much...
03:05Spends too much time hanging around.
03:08Hanging around here, if you ask me.
03:10Oh, Bernard, he doesn't.
03:11I'm sorry, dear boy.
03:12I've dried the old brain box.
03:14Cup, cup.
03:15All right, everyone, let's take a short break there.
03:17It's going.
03:27It's going.
03:28I don't want to hear anything now.
03:30And now.
03:31You understand.
03:34Funny.
03:35Arthrope, I'm glad you could make it.
03:37Wonderful to see you.
03:38May I introduce my good friend, Monsieur Hercule Poirot?
03:41Bonne chance, Monsieur.
03:42Mr. Law, I want to see Miss Sinclair in my office immediately.
03:45Yes, Mr. Reidman.
03:46here i must apologize for reedburn he's the head of the studio no matter he is obviously a busy man
03:57yes he's just instructed me to sack ralph walton good god the truth is old ralph is past his best
04:05but get him on a good day and you won't find a better actor anywhere i suppose i've got to do
04:09it reedburn really hates it please forgive me for just one what a terrible thing
04:16ah bless you paul good morning johannes oh paul please after all you did for my family
04:25oh not at all and what brings you to parade studios sheer good fortune huh my associate captain
04:33hastings how do you do and your director are very old friends oh excellent well welcome thank you
04:39you treat me like a child but i'm the biggest box office draw this studio
04:46true but without the studio you would be nothing without me you wouldn't even be in pictures
04:55perhaps i would have been better off perhaps but i doubt it you're too ambitious for that
05:02you know you are even more beautiful when you're angry
05:05have you thought any more about my little proposition my dear
05:13mr walton please this is highly irregular what's the matter my dear ralph you're the matter you skunk
05:27what haven't even got the guts to sack me to my face
05:31well well well hmm you seem to have lost your manners as well as your talent a shame
05:44you used to be such civilized company
05:47to get level with a snake you have to crawl on the ground
05:51see that mr walton is escorted off the premises at once
05:56you haven't heard the last of me reedburn
06:03are you all right henry of course i'm all right and don't call me henry
06:20i tell you i have a good mind to withdraw my backing
06:50from this picture as long as you're with me i can bear it
06:55just promise me that you won't see reedburn on your own again
07:01yes
07:02yes i promise
07:06action
07:12you're lucky it's in your arm
07:16i'll do my best but you ought to see my husband i feel that i shall be safe in your hands
07:36cut
07:41what is missing money is sex appeal
07:46the demure doctor's wife is drawn irresistibly towards this handsome young fellow
07:53she knows she will be unfaithful
07:55it's the way of women
07:57they cannot help themselves
07:59they are putty in the hands of the wild demon that lurks in all of them
08:05why can't i have another drink eh
08:12why can't i have another drink
08:15if there's no ruddy reedburn
08:19own this studio or something
08:21what if he does
08:23he doesn't own me and i can have a drink if i like
08:30i'll show you
08:34mr reedburn's house just coming up miss
08:44stop just here
08:46three more blood please
08:53thank you
08:54thank you
09:06you
09:11you
09:13you
09:15you
09:17you
09:21I don't know.
09:51I don't know.
10:21I don't know.
10:51I don't know.
11:21Please send some men at once.
11:26I don't know.
11:33I don't know.
11:40I don't know.
11:47Yes?
11:48It's Paul of Maremia.
11:50Oh, your highness.
11:52Please, Poirot, Paul.
11:53Pardon.
11:54Paul.
11:55The most awful things happen, Poirot.
11:57I desperately need your help.
11:59Yes.
12:00Valerie's in trouble.
12:02Serious trouble.
12:03What?
12:03Is she with you?
12:04She's just telephoned.
12:05I'll do anything I can to help.
12:08You see, Poirot, Valerie and I are engaged to be married.
12:13I had no idea.
12:14No, no.
12:15No, it's not generally known.
12:18My family would never approve if there was the slightest hint of scandal.
12:22Where is Mademoiselle Sinclair now?
12:24She's at a house near Reedburn's.
12:27It's called the Willows.
12:29How did she come there?
12:30She just ran to the nearest house.
12:32Is she implicated in a criminal matter?
12:34I fear so.
12:35Whatever your family might think, my friend, you must call the police.
12:40That's already happened.
12:41They have been called?
12:42Yes.
12:43Excellent.
12:45Be straightforward with them and they will be discreet.
12:47I was against it at first, but the people at the Willows, the Oglanders, insisted.
12:51Yes.
12:52But I'm worried about the publicity.
12:54I will do everything in my power to protect your reputation.
12:58But I must know exactly what happened.
13:05Yes, yes, yes, yes, yes.
13:21All right.
13:24Police.
13:26Chief Inspector Jan.
13:27We found a report of disturbance here.
13:29Disturbance?
13:30In the library.
13:33And you are?
13:34Frampton.
13:36Mr. Reedburn's land servant, sir.
13:42Where is it, then?
13:43The library.
13:44It's over here, sir.
13:47One moment, sir.
14:04Holy mother of God.
14:09Don't touch, sir, if you don't mind.
14:10Well, it all happened so quickly, Chief Inspector.
14:28The four of us were playing bridge when suddenly there was this commotion at the window.
14:32We were astonished to see a young lady beating at the panes.
14:37Absolutely terrified, she looked.
14:39Did you happen to notice what time this was, Mrs. Oglander?
14:43It must have been around ten.
14:46Yes, I remember the clock in the hall chiming the air a little before.
14:48Oh, please go on, madam.
14:51Well, Ronnie got up to let her in.
14:55She was very out of breath.
14:57It seemed she'd run across the gardens from Mont Désir.
15:00Did she say anything?
15:02Yes.
15:05Murder.
15:05Murder, he's been murdered.
15:09Murder, he's been murdered.
15:12You're sure of that?
15:14I shall not forget those words for as long as I live, Chief Inspector.
15:21Then she fainted.
15:23Poor girl.
15:24And, of course, we immediately telephoned for the police.
15:31Did any of you recognise her?
15:35Well, I thought there was something vaguely familiar about her,
15:39but it was Geraldine who guessed that it was Valerie St. Clair.
15:43She's a tremendous fan of hers.
15:46Aren't you, darling?
15:55Oh, yeah, the other door is gone.
16:05Now, remember, mon ami, it is important that we keep a discreet silence
16:10about her connection with Prince Paul and Mademoiselle St. Clair.
16:13Oh, yes.
16:14Right.
16:14The police took away the body early this morning, sir.
16:31Otherwise, the room is untouched.
16:33And the curtains were drawn last night?
16:35Yes, sir.
16:36I draw all the curtains every evening.
16:39So who has drawn back this one?
16:41I couldn't say, sir.
16:41Possibly, Mr. Reedburn did.
16:53What is this house?
16:56That's the Willows, sir.
16:58Neighbours of Mr. Reedburn.
17:00Name of Oglander, I believe.
17:03Ah, yes.
17:05The Oglanders.
17:06Excuse me, please.
17:09And this window overlooks the drive, no?
17:15That's right, sir.
17:23Tell me, was Mr. Reedburn expecting any visitors late last night?
17:28He didn't say so, sir.
17:30But after Mr. Saunders had left...
17:32Barney Saunders?
17:32That's right, sir.
17:33He and Mr. Reedburn were viewing rushes in the projection theatre.
17:37Mr. Saunders left at about 9.30, I think it was.
17:41And later?
17:42Well, sir, Mr. Reedburn gave instructions he was not to be disturbed.
17:46In the library, that is.
17:48And you saw nobody arrive?
17:49No, sir.
17:50But, of course, they may have come in by the side door without my knowing.
17:55May I?
18:08Was Mr. Reedburn in the habit of admitting the visitors late at night by this door?
18:21I believe so, sir.
18:22And you heard nothing from the library after Mr. Reedburn had retired there?
18:27Well, I can't be sure, but I thought I heard a woman's voice.
18:30A woman's voice?
18:31Yes, sir.
18:32I may have imagined it, of course, because that's what I would have expected to hear.
18:37If you see what I mean, sir.
18:40Quite so.
18:44We're looking for a blunt instrument, quite wide.
18:47Not like a poker, but heavy.
18:49Let me start upstairs.
18:52Dear, oh, dear.
18:55Here we go again.
18:57My dear Chief Inspector,
19:00you have cracked this case already, perhaps, no?
19:04Won't be long, Poirot.
19:06Have you ever heard of Valerie St. Clair?
19:10St. Clair?
19:11The film star.
19:13I've just been talking to her, as a matter of fact.
19:14Very intelligent girl.
19:16It was her who discovered the body.
19:18Film star?
19:19Ah, yes.
19:20She was frightened, of course, so she ran off to that house over there.
19:23The Willows.
19:24Hmm.
19:25But what was she doing here, Inspector?
19:27I understand it was very late.
19:29Business.
19:30Mr. Reedburn was a film producer.
19:32They don't keep office hours, you know, Poirot.
19:34Valerie, Miss St. Clair, that is, spotted an intruder, which makes my life a lot easier.
19:43There's a lot of gypsies around here, apparently, and Mr. Reedburn wasn't exactly a favourite of theirs.
19:47He tried to have them moved on several times.
19:51What was the cause of death, would you say?
19:54A blow to the back of the head.
19:55There was also bruising between the eyes, but the fatal injury was to the head.
20:00You can still see the blood.
20:07So he was lying on his back?
20:09Correct.
20:14Perhaps he fell back against this?
20:17Well, there'd be blood traces on that arm.
20:19Unless they were washed away.
20:23Why would anyone want to make an accident look like murder?
20:28True enough, huh?
20:29True enough.
20:31But one thing still puzzles me.
20:34Why does Mademoiselle St. Clair run to the Willows instead of the house at the front, which is much nearer?
20:41Oh, well, that's simple.
20:42As the body was here, and this curtain was drawn back,
20:46the lights from that house would be the first you'd see at night.
20:49But, of course, you are several steps ahead of me, my dear chief inspector.
20:55Oh, you mustn't get discouraged, Poirot.
20:57When you've been around as long as I have, you develop a nose for this sort of thing.
21:08I'll kill her.
21:11Poor Valerie St. Clair had to come this way in the dark.
21:16Do you reckon Jab's on to something?
21:18This gypsy business, I mean.
21:22A man like Reed Byrne had enemies, huh?
21:26Too many.
21:27Would you mind waiting in here for a moment, sirs?
21:40Merci.
21:52Would you mind waiting in here for a moment, sirs?
21:54Would you mind waiting in here for a moment, sirs?
21:56Merci.
22:08La famille et Hastings.
22:10No bond is so strong.
22:12Yes.
22:16Good morning, gentlemen. Bonjour, mademoiselle.
22:18You're from the police?
22:20No, no, no, not at all. Pardon.
22:24Voilà .
22:26We are acting in a private capacity
22:28for a dear friend of mademoiselle Sinclair.
22:31I see.
22:32How can I help you?
22:34You must excuse the room, by the way.
22:36The police have instructed us to leave things exactly as they were.
22:39No, no, of course. I understand.
22:45You were playing bridge last night?
22:47Yes.
22:48And you yourself were sitting...?
22:50There, facing the window.
22:52Ah.
22:53I was partnering with my mother.
22:54Anna had just bid one no trump when it happened.
22:57When Miss Sinclair appeared at the window, I mean.
22:59You had been playing for long?
23:00Perhaps an hour or so.
23:02We played several rubbers.
23:08Mademoiselle Sinclair is still here, is she not?
23:10Yes.
23:11Yes.
23:29I saw you on the set yesterday.
23:30Ah.
23:31Paul insisted on calling you last night.
23:32I saw you on the set yesterday.
23:33Ah.
23:34Paul insisted on calling you last night.
23:36Perhaps you could tell us what happened.
23:37It was dreadful.
23:38Utterly dreadful.
23:39It was dreadful.
23:40It was dreadful.
23:41Utterly dreadful.
23:42You might as well see what happened.
23:43I saw you on the set yesterday.
23:44Ah.
23:45Paul insisted on calling you last night.
23:47Perhaps you could tell us what happened.
23:48It was dreadful.
23:49Utterly dreadful.
23:50You might as well know, Reidburn was blackmailing me.
23:51I can't tell you why, so please don't ask me but for Paul's sake, for both our sake.
23:53I saw you on the set yesterday.
23:54Oh, come on.
23:55It was dreadful.
23:56I saw you on the set yesterday.
23:57Ah.
23:58Paul insisted on calling you last night.
24:00Perhaps you could tell us what happened.
24:01It was dreadful.
24:02Utterly dreadful.
24:03You might as well know, Reidburn was blackmailing me.
24:16I can't tell you why, so please don't ask me, but for Paul's sake, for both our sake.
24:19For both our sakes, I tried to come to terms with him.
24:24Dear God, I can't say I'm sorry he's dead.
24:27But believe me, I didn't kill him.
24:29I swear it.
24:31Just tell me what happened, my dear lady.
24:35I agreed to meet him last night.
24:37I was desperate, you understand.
24:41Well, last week he forced me to sign another three-year contract with his studio.
24:46But he wanted still more.
24:47More?
24:49He said he was in love with me.
24:52I don't need to tell you what he was after.
24:56I could see no way out.
24:59He asked me to meet him last night in the library at a quarter to ten.
25:04Courage, mademoiselle.
25:12When I entered, it appeared to be empty.
25:14Then I saw it.
25:17By the window.
25:20Her body on the floor.
25:23To my horror, I realised it was Reedburn.
25:28I could tell at once he was dead.
25:29I was about to call out when something made me look round.
25:34A curtain twitched on the other side of the room and my heart stopped.
25:38At the foot of the curtain, I could clearly see a pair of feet.
25:42Someone was there.
25:43My God, all I could think of was getting away, Monsieur Poirot.
25:47I saw the lights of this house in the darkness and I just kept on running until I got here.
25:52It must have been a great shock, mademoiselle.
25:56But tell me, the window where you found the body, it was at the back of the library, overlooking the garden, yes?
26:09Yes.
26:10How was the curtain on this window?
26:13Shut?
26:15No.
26:16It was drawn back.
26:20And on the other windows?
26:21I think all the other curtains were closed.
26:26And this pair of feet.
26:27It was a man or a woman, would you say?
26:30Oh, a man, I'm sure.
26:31Hmm?
26:32Well, they were boots rather than shoes.
26:35Like hobnail boots, only very worn and dirty.
26:39I see.
26:39Begging your pardon, sir, Mrs Ogland, I would like a word with you, if you wouldn't mind meeting for a while in the drawing room.
26:55No, no, no, no, by all means.
27:09No, mademoiselle Oglander, should there be three spades, not one neutrum.
27:32Tiens.
27:322, 4, 6.
27:352, 4, 6.
27:362, 4, 6.
27:371, 2, 4, 6.
27:39There are only 51 cards here.
27:42There is one card missing.
27:55And you better call.
27:57Because you've visited you.
28:01He thinks this explains everything.
28:04There is no king of clubs.
28:09Thank you very much for waiting, gentlemen.
28:19Madame.
28:21I wonder if I might ask a small favor of you, Mr Poirot.
28:26I am at your service, madame.
28:27Well, you see, my husband is not a well man, and I am terrified that if the newspapers get hold of the fact that Miss Sinclair is staying here, we shall have no peace.
28:38Can I therefore rely on your discretion, Mr Poirot?
28:40Well, I have not seen or heard of Mademoiselle Sinclair.
28:46You may rest assured, madame.
28:49Thank you so much.
28:50I am so grateful.
28:52May I please ask you something, madame?
28:55Which of you first noticed Mademoiselle Sinclair at the window?
28:58Well, it's difficult to say, really.
29:00The commotion distracted us all.
29:02But you could see her clearly from your seat?
29:06Oh, yes, indeed.
29:06I was facing the window.
29:08I was probably engrossed in the game.
29:11I'm afraid I'm a bit of a dunce when it comes to bridge.
29:25You're up to something, Poirot.
29:27I'm dashed if I know what.
29:29Patience, my friend.
29:32All right, get him in line.
29:42All right, all right, none of your half-locks.
29:45Just get them off.
29:48This is a serious inquiry.
29:52Put their names on the labels.
29:55And give your boots to the constable.
29:56What?
29:57You'll get them back, don't worry.
30:00They're going to be looked at by a film star.
30:02Oh, God help her.
30:08You know, Poirot, there's a bit more to this modern art than you might think.
30:12It isn't just that they don't know what they're doing,
30:14even if it might look like it.
30:17This is most unpleasant, Hastings.
30:19Palermine was telling me that what they're trying to do
30:21is to show all the sides at the same time.
30:24Save us the trouble of walking around the back.
30:26It's quite a clever idea, in a way.
30:30I mean, take this fellow, for instance.
30:32I mean, that bit might be his front and his back as well,
30:36if you get my meaning.
30:37It's not quite scientific, really.
30:41The trouble is, most of the time,
30:42they're half-married with booze and drugs,
30:44so what they see isn't all that reliable.
30:47It's the artistic temperament.
30:48That's the problem.
30:50What have you got there?
30:56Oh, Bunny, what are you doing here?
30:57Looking for you and Monsieur Poirot, actually,
31:00Prince Paul said you'd be here.
31:01Oh, what's up?
31:02Well, look, it may be nothing important.
31:06When I was driving back from here last night,
31:08I nearly ran straight into Ralphie Walton,
31:10coming the other way,
31:11swerving around like some mad dervish he was.
31:13So you think he was coming here
31:15to see Monsieur Ridburn, intent on revenge?
31:17I don't know.
31:19He certainly didn't look like a man paying a social visit.
31:23He doesn't wear hobnail boots, does he?
31:25Walton, I mean.
31:27Beg pardon, sir,
31:29but there's a telephone call from Mr Saunders.
31:31For me?
31:32Yes, sir.
31:33Who on earth could be calling me here?
31:34Excuse me.
31:39So, did Ralph Walton kill Ridburn?
31:44That is the big question, mon ami.
31:48What about the missing bridge card?
31:52It is in my pocket.
31:56I don't understand.
31:58Well, there is no great mystery.
32:02The missing card
32:03was in the box all the time.
32:07It had simply not been taken out with the others.
32:09See, too.
32:11Well, that was Prince Paul
32:12to say that Ralph Walton
32:14has been taken to the local cottage hospital,
32:16crashed his car near here
32:17in the early hours of the morning.
32:18Good heavens.
32:19Is he all right?
32:20A broken collarbone
32:21and a hangover,
32:22but he's comfortable, apparently.
32:23Look, I think I'll trot over
32:25to see the old boy now, all right?
32:27Hastings,
32:27why don't you accompany Mr Saunders, eh?
32:29I must return to the Willows,
32:31and I, well,
32:32I think it best if I go alone.
32:34Oh, all right, if you think so.
32:36Besides,
32:36you can question Mr Ralph Walton
32:38about last night, perhaps.
32:39Right.
32:40Pop in, then, Arthur.
32:49Right.
32:55Oh, this is nice.
32:57I saw Freddie Dixon
32:59driving one down at the track,
33:00so I thought I'd get one myself.
33:02Twin SU calves, isn't it?
33:05Yeah, it's a bit thirsty.
33:07Quick.
33:10Good morning, sir.
33:40Mr Poirot.
33:57I must apologize
33:58for this unexpected return, madame.
34:01I was anxious
34:02to fully set your mind at rest.
34:06You have a second daughter, madame?
34:08Had.
34:11She died, I'm afraid.
34:14I am sorry to hear you say that.
34:23In my country,
34:27we Belgians have great respect
34:29for La Merda Famille.
34:32The mother.
34:34She is all-important.
34:38Do not worry.
34:40I think it's unlikely
34:41that the police
34:41will ever learn the truth.
34:43you will permit me, madame,
34:57to return the missing card
34:59to the pack?
35:01To play bridge
35:11for over one hour
35:12with only 51 cards,
35:14that is not very believable, madame.
35:18You make one other
35:20small mistake.
35:22You tell me
35:23that you are sitting here
35:24facing the window
35:25when Mademoiselle Sinclair appeared.
35:27But your daughter tells me
35:29she also is sitting here,
35:30so perhaps you are both
35:31sitting in the same chair, no?
35:36Nothing
35:37has escaped you,
35:38it seems,
35:39Mr. Poirot.
35:40You are feeling better, mademoiselle.
35:48Yes, much better, thank you.
35:52Mademoiselle,
35:53I found these
35:57in the house
35:58of Monsieur Riedman.
36:00What have they to do with me?
36:04You are a good actress
36:06and a loyal daughter.
36:08Miss Miquel,
36:10mademoiselle Oglander.
36:15This is your father,
36:18Monsieur Oglander.
36:20No?
36:24And this man,
36:25Monsieur Hortrie,
36:26he is also your father.
36:29You can't be serious.
36:31Mr. Poirot knows everything, dear.
36:34Believe me, my dear lady,
36:35I make no judgment
36:36in this matter.
36:38M. Hortry tries to save his business with a little false accounting.
36:43Well, fathers have done worse for the sake of their children.
36:47But M. Hortry is caught, and in his shame he changes his name to Oglander.
36:54When your family come to live here, Mr. Reedburn discovers these facts
36:59and tries to blackmail you. Is that not so?
37:02I lived in dread, M. Poirot, that he would divulge everything.
37:06Paul could never marry me then.
37:09I think it is best if you keep these, mademoiselle.
37:23And have no fear. My lips are sealed.
37:36I say, Val, what are you doing out?
37:46No, I should be careful. We just saw that little French chap snooping his way back up here.
37:52Viva la famille. Au revoir, mesdames.
38:02Viva la famille.
38:03What are you doing now?
38:05blessed Okay.
38:07What are you doing now?
38:12Why notc.
38:13I'd like a lift back to town, Poirot.
38:33Ah, well, that is most kind of you, Inspector, but I have to meet Captain Hastings back at
38:37Mont d'Azur.
38:38Ah, yes.
38:39By the by, how did you get on at the Willows?
38:43Ah, well, nothing of any interest, I have to admit.
38:49What about your gypsies?
38:50Drawn a blank so far.
38:52Difficult blighters to deal with.
38:54But we'll find him sooner or later, don't you worry.
38:57I admire your persistence, my friend.
38:59Little grey cells are all very nice, Poirot, but it's dogged as does it.
39:05Yes, well, thank you very much, Inspector.
39:08All right.
39:09We'll try and remember that.
39:10Au revoir.
39:15Let's go.
39:17Oh, Poirot.
39:18Keep them up.
39:19Use them, help.
39:20Get service.
39:21Keep them up.
39:23Get a door!
39:25Get a door!
39:26Be a door!
39:28Get a door!
39:29Get a door!
39:30Get to that door!
39:32Come on!
39:33Come on!
39:34Get your door!
39:35Find a door!
39:36Come on!
39:37Get to that door!
39:38Ah, Poirot!
39:39Come on!
39:40Don't you?
39:41Get to that door!
39:42Go on!
39:43How was Monsieur Bolton? Seemed pretty cheerful, all things considered. Claims he intended to give
39:53Reedburn a good hiding, but by the time he'd got his courage up, he was in no fit state. No, no,
39:57it does not matter, Hastings. The case is closed. You mean you've caught the murderer? There is no
40:03murderer. What? There is no murderer because there is no murder. But Reedburn's body was found in
40:09that window with a hole in the back of his head. Wrong window, Hastings. This was where
40:15the body lay fast. Regard, mon ami. You see this blood stain? Now remember, the Chief Inspector
40:26Chap said that there was bruising on the face of Monsieur Reedburn. The reason? Because
40:31someone punches him between the eyes. Monsieur Reedburn falls backwards, hits his head against
40:37disarm and slips to the floor. That is an accident. It is not murder. But if he fell here, why
40:48did he end up over there? Well, it is not impossible, you know, to drag the body across the floor.
40:54But why take it over there? Because it was essential for their plan. Their plan? Yes. Valerie Sinclair
41:02and Ronnie Oglander. Well, the father is too ill, so it had to be a son. You see, mon ami,
41:08Mlle Sinclair visited Monsieur Reedburn last night, accompanied by Ronnie. There was a quarrel,
41:15no doubt, and the young Monsieur Oglander punched Monsieur Reedburn in the face. He fell backwards and hit
41:21his head. Voilà . But how do you know all this? Because of that window. Now remember, this was the only
41:29window with its curtains drawn back. Yes? Why? To give a view of the Willows, the Oglander's house. In order to make it appear that Valerie Sinclair
41:34went to the Willows by chance, it was necessary for the body to be found over there. I see. But you have another question, mon ami, no? Well, yes. I mean, I don't know.
41:54But you have another question, mon ami, no? Well, yes. I mean, what's the connection? Between Valerie Sinclair
42:07and the Oglanders? Ah.
42:24What was that Ahmed doing here?
42:27He's come to see to the horses. Oh. That's his excuse, is it?
42:33He spends too much time hanging around here, if you ask me.
42:36Oh, Bernard, he doesn't. I'm still your husband, Vivian.
42:40Just don't ever forget that.
42:50Cut.
42:55Excellent. Bunny. Excellent.
42:58Very good, Ralphie. Excellent.
43:01Right, well, we'll print that one.
43:04Now then, onwards and upwards, we'll move on to scene 64. As long as that one's clear.
43:09Monsieur Poirot, have the police made an arrest?
43:13No, it seems not. And from what I hear, the trail has gone cold.
43:18Well, the very idea that Val could have been involved was always preposterous.
43:23Open up the doors and get some air in here.
43:26But I thought...
43:27No, no, no, no, Hastings.
43:30Look, it seems to me...
43:31My friend, you are barking up the wrong bush.
43:35The case of Monsieur Redburn will remain, I fear, one of that great body of unsolved cases.
43:41Resolve cases.