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  • 11/05/2025
First broadcast 12th March 1989.

Poirot and Hastings investigate the death of film studio owner Henry Reedburn at the request of Prince Paul of Maurania who wishes to marry the film star Valerie Saintclair.

David Suchet as Hercule Poirot
Hugh Fraser as Captain Hastings
Philip Jackson as Chief Inspector Japp
Niamh Cusack as Valerie Saintclair
David Swift as Henry Reedburn
Jonathan Coy as Bunny Saunders
Jack Klaff as Prince Paul of Maurania
Rosie Timpson as Miss Deloy
Gawn Grainger as Ralph Walton
Marc Culwick as Young Man (as Mark Culwick)
Vass Anderson as Frampton
Avril Elgar as Mrs Oglander
Abigail Cruttenden as Geraldine Oglander
Sean Pertwee as Ronnie Oglander
Cathy Murphy as Maid
Jeffrey Harmer as Assistant Director

Category

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