First broadcast 11th December 1983.
A young man hires the Beresfords to break an alibi which his girlfriend has concocted.
Francesca Annis as Tuppence Beresford
James Warwick as Tommy Beresford
Reece Dinsdale as Albert Batt
Ellis Dale as Henri
Michael Jayes as Peter Le Marchant
Preston Lockwood as Head Waiter
Tim Meats as Montgomery Jones
Anna Nygh as Drake & Vera Drake
Gay Soper as Hotel Receptionist
Stephen Wale as Dining Car Attendant
Elaine Wells as Chamber Maid
A young man hires the Beresfords to break an alibi which his girlfriend has concocted.
Francesca Annis as Tuppence Beresford
James Warwick as Tommy Beresford
Reece Dinsdale as Albert Batt
Ellis Dale as Henri
Michael Jayes as Peter Le Marchant
Preston Lockwood as Head Waiter
Tim Meats as Montgomery Jones
Anna Nygh as Drake & Vera Drake
Gay Soper as Hotel Receptionist
Stephen Wale as Dining Car Attendant
Elaine Wells as Chamber Maid
Category
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TVTranscript
00:00♪
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00:24Oh, well done, darling.
00:54The very word I was looking for.
00:56I don't follow.
00:58Uses pens for hanging matter.
01:01I still don't follow.
01:03Suspense.
01:04It's an anagram of uses pens.
01:05You're doing the crossword.
01:06Trying to.
01:07I was stuck.
01:08Oh, the pointless.
01:09Albert, have you seen a duster for the...
01:20Dictaphone.
01:21A mule that loses its footing.
01:28Haven't you anything better to do?
01:33As titular head of a detective agency in the midst of an apparent, and I hope, temporary
01:38fall in the crime rate, the answer, my darling wife, is no, I haven't anything better to
01:43do.
01:44You sound like Lloyd George answering questions in Parliament.
01:48The eloquence was there, I grant you, but not the Welsh accent.
01:52What's the matter?
01:53I'm not in a good mood today.
01:54Oh, poor old thing.
01:55Why not?
01:56It was this morning that John and I were supposed to go to the Wordsworth Gallery, and, well,
02:02I was looking forward to that.
02:04Oh, yes, the exhibition.
02:05There was something about that in the paper.
02:06Oh, has he found it?
02:07No, not yet.
02:08Ah, here we are.
02:09A Scotland Yard spokesman said that the 18th century watercolours by Matthew Herrick, stolen
02:15earlier this week from the Wordsworth Gallery in Albemarle Street, are believed now to be
02:19in Paris, in the hands of unscrupulous private collectors.
02:23Is that all it says?
02:25Yes.
02:26Apart from the fact that the gallery's offering a £5,000 reward.
02:29So what are we waiting for?
02:32Go to Paris, you mean?
02:35Find the paintings and bring them back?
02:37A blaze of publicity for blunt, brilliant detectives?
02:41Exactly.
02:42No, my sweet.
02:43I mean, have you any idea how many private art collectors there probably are in Paris?
02:47Um, no, no, it's out of the question.
02:51You leave me to keep the grey matter ticking over by finishing the crossword.
02:54And what am I supposed to do?
02:56Well, to impress our clients, you're supposed to be practising how to be the perfect secretary.
03:00And how do I do that?
03:02By carrying out lesson number one.
03:04Which is?
03:06Learning how to sit on my knee.
03:08That's the first good idea you've had all week.
03:12MUSIC
03:30Shh!
03:32I said...
03:34Ah, lucky he wasn't an intruder.
03:37Why's that?
03:38These hands?
03:39Deadly.
03:40Touché.
03:42Now, sir, was there something?
03:44Uh, this is Blunt's brilliant detectives, isn't it?
03:47It was the last time I looked.
03:49Yes, it is, sir.
03:51Splendid.
03:52Then might I see Mr...
03:54Blunt?
03:55Have you an appointment, sir?
03:57Well, not really, no.
03:58I just thought I'd toddle in and...
04:00No go, is it?
04:02Mr Blunt is engaged on a very important conference at present, sir.
04:08Oh, Mr Blunt.
04:10Oh, Miss Robinson.
04:12Oh, what a pity.
04:14There could be a chance, sir.
04:16It might only take a few minutes.
04:20Oh, if I really was the perfect secretary, do you know what I'd do now?
04:24No. What?
04:26BUZZER
04:28Oh, a cat!
04:30Tommy, lipstick!
04:32Oh, oh, mm-hm.
04:34MUSIC
04:40BUZZER
04:42Ah, you're in luck, sir.
04:44The conference seems to be over.
04:46Oh, jolly good.
04:48Step this way, sir.
04:50Oh, certainly, Major General.
04:52Mr Montgomery-Jones, sir.
04:54Oh, good day, Mr Montgomery-Jones.
04:56Thank you, Albert.
04:58Do I take it you are Mr Blunt?
05:00You do. Take it.
05:02A seat?
05:06Now, what can I have the pleasure of doing for you?
05:09Oh, my confidential secretary, Miss Robinson.
05:11You may speak quite freely before her.
05:17I take it that this is a delicate matter.
05:19In a way.
05:21You're not in any trouble of any kind yourself, I hope?
05:23Oh, rather not, no.
05:25No. Well, perhaps you will state the facts in your own words.
05:29I don't know how to set about it.
05:33It's a dashed-odd sort of thing, really.
05:35Just... well...
05:37A silly sort of joke, that's all.
05:39Someone has played a joke on you
05:41of a mysterious nature?
05:43Well, not exactly.
05:45No.
05:47Well...
05:49Take your time.
05:51You see...
05:53It was at dinner.
05:55I sat next to a girl.
05:57Yes?
05:59Well, she was...
06:01I really can't describe her, but she was simply one of the most...
06:03She's an Australian.
06:05Been over here for some time.
06:07She's simply game for anything.
06:09I absolutely can't tell you the effect she had on me.
06:11We can imagine, Mr Jones.
06:13I mean, I'd known her vaguely for some time.
06:15Same circles and all that, but...
06:17Well, the whole thing
06:19came as an absolute shock to me.
06:21I mean, I sat beside her at dinner
06:23and...
06:25and slapped out of the blue.
06:27Your whole world had changed?
06:29Well, that's absolutely what it was like.
06:31You put it awfully well.
06:34Only, you know,
06:36I fancy she didn't think much of me.
06:38You men think it, but I'm not terribly clever.
06:40You mustn't be too modest.
06:42Oh, I do realise I'm not much of a chap.
06:44That's why I feel I've got to pull this thing through.
06:46It's my only chance.
06:48I'm sure we wish you the very best of luck.
06:50Thank you, Miss Robinson.
06:52You see, she's such a good sport
06:54that she would never go back on her word.
06:56Naturally.
06:58Well, I don't see exactly what you want us to do.
07:00Oh, Lord!
07:02Haven't I explained?
07:04No, you haven't.
07:06Ah, well, it was like this.
07:08Euna... That's her name.
07:10Euna Drake.
07:12I'd been trying all sorts of ploys to, you know,
07:14cash her interest.
07:16Absolutely no success.
07:18Then somehow we got onto the subject of detective stories.
07:20And I found out that she was just as keen about them as I am.
07:22Oh, is that so?
07:24Rather. We got to talking about one story in particular.
07:26And I said...
07:28She said... No, I said...
07:31Now, which of us was it?
07:33Oh, never mind which.
07:35Well, this story all hinges on an alibi.
07:37So we got to talking about alibis and faking them.
07:39And I said that faking alibis...
07:41Oh, no, no, she said...
07:43No, no, it really was me.
07:45I said that faking alibis
07:47would be a jolly difficult thing to do.
07:49Euna disagreed.
07:51It would only take a bit of brain work.
07:53Rather more than that, I think.
07:55Well, it's obvious, Monty.
07:57Not at all.
07:59Look, the chap thinks he's got away with it.
08:01But he had to ask other people to lie for him.
08:03They got caught out.
08:05That'll always happen.
08:07Not necessarily. Not if they believe they're telling the truth.
08:09Come again?
08:11Well, you can't catch out someone who backs up a story
08:13unless he knows his lie.
08:15Right.
08:17I mean, I'm sorry, Euna,
08:19but it's too difficult to fake a convincing alibi.
08:21It just can't be done.
08:23I'm sure I could do it.
08:25Oh, I say.
08:27I'll make you a sporting offer.
08:29What do you bet that I can produce
08:31an alibi that nobody can shake?
08:33Anything you like.
08:35If I were you, I wouldn't risk too much.
08:37It's an odds-on chance for me.
08:39Don't be so sure of that.
08:41Supposing you lose and I ask you something,
08:43will you pay up?
08:45I come from a gambling family.
08:47I don't welch on my bets.
08:49Well, if I win, I'll ask you to marry me.
08:57Very well, you're on.
08:59And if I win,
09:01we'll never see each other again.
09:07So, you see,
09:09it's up to me.
09:11It's the only chance I have with her.
09:13You're sure that you'll stick to her end of it?
09:15Completely.
09:17It is a very curious proposition.
09:19You must be doing this sort of thing all the time,
09:21investigating fake alibis
09:23and seeing where they fall down.
09:26Oh, yes.
09:28Oh, yes, we do.
09:30A lot.
09:32I know you're very busy, but I am prepared to pay
09:34all necessary what-nots.
09:36What?
09:38Lots. What-nots.
09:40That'll be all right.
09:42I'm sure Mr Blunt will take on the case.
09:44Well, perhaps we can fit it in.
09:46But what precisely
09:48am I to investigate?
09:50Here it is.
09:52This is what she sent me.
09:54I am sending you proof
09:56I was in two distinct places
09:58at one and the same time.
10:00According to one story,
10:02I had dinner alone
10:04at the Bon Jombe restaurant in Soho,
10:06went to the Duke's Theatre,
10:08then had supper with a friend,
10:10Mr Le Marchant, at the Safoy.
10:12But I was also staying at the Castle Hotel
10:14in Torquay that evening
10:16and only returned to London
10:18on the following morning.
10:20You have to find which of the two stories
10:23It's a very refreshing
10:25little problem.
10:27Very naive.
10:29Here is Euna's photograph.
10:31You'll want that.
10:33May I have the lady's full name and address?
10:35Euna Drake.
10:37She lives at 180 Clarge Street.
10:39It's such a relief
10:41that you've taken it on.
10:43How will you set about it?
10:45I'm sure Mr Blunt will want me to check
10:47everything and it's nearly lunchtime
10:49so I could start at the Bon Jombe restaurant.
10:51Say, that's quick.
10:53I'd love to see how you work.
10:55Why don't I take you to lunch, Miss Robinson?
10:57What a lovely idea, Mr Jones.
10:59Monty.
11:01Everyone calls me Monty.
11:03Thank you, Monty.
11:05Jolly good.
11:07Yes, thank you. We'd be delighted to accept.
11:09Oh.
11:11Jolly good.
11:15Very cosy.
11:17Very French.
11:19Yes, quite fashionable, really.
11:21A lot of the younger's have come here.
11:23How are you, Henri?
11:25Ah, Monsieur Monty, bonjour.
11:27Bonjour to you too.
11:29Nice to see you again.
11:31And you, Monsieur Beresford,
11:33sois le bienvenu. Welcome back.
11:35Manzo.
11:37Beresford.
11:39I thought your name was Blunt.
11:41Beresford's a sort of alias I use
11:43sometimes when I'm on a case.
11:45I say.
11:48Oh, yes, but not for some time.
11:50I used to pop in now and then
11:52in my salad days.
11:54That can't be too long ago.
11:56Your boss is a bit of a dark horse, Miss Robinson.
11:58I'd wager he's one for the ladies.
12:00You should keep an eye on him.
12:02I intend to.
12:04All over and done with.
12:06You can't fool us.
12:08I should have thought.
12:10Maybe there's someone you'd like to have invited to join us.
12:12No. No, I assure you, no one at all.
12:14Oh, what a pity, Mr Blunt.
12:16Fascinating.
12:18Let's get back to business, shall we?
12:20Henri.
12:22Could you spare us a moment?
12:24Do you recognize this young lady?
12:26Ah,
12:28mais oui, Mademoiselle Drake.
12:30Elle est charmante, tout à fait charmante.
12:32Then perhaps you remember she dined here
12:34last Tuesday evening, by herself.
12:36She's not often by herself,
12:38but sometimes she is.
12:40Let me think.
12:42Last Tuesday.
12:46On Tuesday,
12:48dining alone,
12:50I think perhaps she was, but she is here often,
12:52I cannot be certain.
12:54Perhaps one of your waiters might remember.
12:56No, I always serve her myself.
12:58Tuesday.
13:00Yes, I think maybe she was here.
13:02But on the other hand, maybe not.
13:04Well, that wasn't very conclusive.
13:06No.
13:08You say she lives in Clarge Street?
13:10Yes, she shares a flat with another girl,
13:12Marjorie... something.
13:14Oh, well, that's it, then.
13:16As soon as we've eaten, I'll pop round and have a word with Miss Drake myself.
13:18Oh, no, that's the one thing you mustn't do.
13:20I mean, if she found out
13:22that you and Mr. Blunt were helping me,
13:24after all, it's my brainpower that's being tested.
13:26Yes.
13:28She might call the whole doodah off.
13:30Oh, yes.
13:32Where did she go from here?
13:34Oh, just a minute.
13:36She enclosed the counterfoil of the ticket.
13:38The Duke's Theatre.
13:40Oh, isn't that where that musical Delphiniums Blue is playing?
13:42Well, it won't be much help.
13:44Anybody could buy a theatre ticket,
13:46and she could have seen the show at any time,
13:48so we couldn't trip her up on the plot
13:50or anything like that.
13:52So you think the London end is the false one?
13:54I'd say the whole thing seems fairly weak.
13:56I think the girl simply went to Torquay
13:58and this London thing is fake.
14:00Yes, but after the theatre,
14:02she said she had supper with someone at the Savoy.
14:04Peter Lamartin.
14:06Well, he's obviously the one we should talk to.
14:08What's he like?
14:10He's an import-export.
14:12Bit on the flashy side.
14:14Not really her sort at all.
14:24With a splash?
14:26Just a touch.
14:34Now then,
14:36what's this about you now?
14:38We understand that you had supper with Miss Drake
14:40at the Savoy on Tuesday the 19th,
14:42Mr Lamartin.
14:44Yes, I did. Soda?
14:46No, thanks.
14:48What's wrong with that?
14:50We just wanted to check.
14:52She's not in any kind of trouble, is she?
14:54Oh, no, nothing at all.
14:56No, we're trying to verify the alibi of one of our clients,
14:58as a matter of fact.
15:00He says that he was at the Savoy that very same evening,
15:02but the only person he remembers noticing there is Miss Drake.
15:04I see.
15:06So why don't you ask her about it herself?
15:10Oh,
15:12much better to have her corroborated by a third party.
15:14Otherwise we could never be sure
15:16she wasn't just saying it to help him.
15:18Yes, of course.
15:20What fascinating work you do.
15:22Much more interesting
15:24than sitting in a dull office.
15:26Business seems to be flourishing,
15:28Mr Lamartin.
15:30I can't complain.
15:32It's a booming market for imports just now.
15:34I'm always on the lookout for
15:36bright people to join the firm.
15:38Could you tell us something about Miss Drake?
15:40What there is?
15:42She arrived here a couple of years ago.
15:44Very bright.
15:46Independent-minded, like many of these
15:48Australian girls seem to be.
15:50I met her at sundown races.
15:52Gambling's a passion of hers.
15:54So we understand.
15:56But her real interest is in the arts.
15:58She landed a job
16:00with a Russian paint pot,
16:02or whatever it's called, the art magazine.
16:04Pen and Palette.
16:06Yes, that's the one.
16:08She's their features editor now.
16:10Doing nicely for herself.
16:12You know her well?
16:14Not as well as I'd like to, if you follow me.
16:16She never lets anyone get too close.
16:18Now, personally,
16:20I'm all for a little togetherness.
16:22So you're quite sure
16:24Miss Drake was with you that evening?
16:26Yes.
16:28I told you.
16:30What a suspicious lot you are.
16:32You think she might have asked me to say that?
16:34Oh, not necessarily.
16:36But did anybody else see you both there together?
16:38Some people called Oglander
16:40were sitting at the next table.
16:42Do they know Miss Drake?
16:44Oh, yes.
16:46They're not bosom friends or anything,
16:48but they know her.
16:50Look here. It is Una you're interested in, isn't it?
16:52She got some little game on.
16:54Perhaps.
16:56Something quite harmless.
16:58You never know what that kid's up to.
17:00Do you happen to know where she'd been before she met you?
17:02At some musical show, I believe.
17:04Yes.
17:06The one at the Duke's Theatre.
17:08She hadn't enjoyed it much.
17:10Come to think of it,
17:12there was something rather odd.
17:14Yes?
17:16I paid her some compliment.
17:18How attractive she was.
17:20What a pleasure to be with.
17:22And she said,
17:24what was it?
17:26I think I'm sitting here having supper with you.
17:28But really, I'm 200 miles away.
17:30In Devonshire.
17:32But the really funny thing was
17:34that a few days later,
17:36Dickie Rice told me he'd seen her before.
17:38Dickie Rice?
17:40Oh, just a friend.
17:42He'd been down visiting an aunt in Torquay,
17:44and he said,
17:46I saw that Australian girl there.
17:48I asked him when was that,
17:50and he said, oh, Tuesday, about tea time.
17:52Naturally, I told him he must have been mistaken.
17:54But then,
17:56I remember what she'd said.
17:58Now, wasn't that odd?
18:04Now, from her own account,
18:06Una Drake caught the 12 o'clock train
18:08from London on Tuesday.
18:10She'd have arrived in Torquay
18:12just in time for tea.
18:14And just in time to be seen by Dickie Rice.
18:16She books into the hotel,
18:18unpacks, and gets the next train
18:20back to London, arriving in time
18:22to see Peter LaMarche at the Savoy.
18:24Yes. Now,
18:26she could have caught the 4.40.
18:28It's a slower train, gets into Paddington
18:30at ten past nine.
18:32Well, there we are then.
18:34But after that, it gets rather more tricky.
18:36How's that?
18:38Well, there's a midnight train from Paddington
18:40down again, but
18:42that would have been too early.
18:44I suppose she could have always come down later
18:46by car.
18:48It's getting on 200 miles.
18:50The Italians, I've been told, drive very recklessly.
18:52Well,
18:54let's suppose then that she was a really fast driver.
18:56She could have caught back
18:58before breakfast, say, seven o'clock?
19:00Mm-hmm.
19:02And supposing she did nip into bed at the
19:04Castle Hotel without being seen?
19:06Yeah.
19:08Or arrived there explaining that she'd been out all night
19:10and, uh, could she have her bill, please?
19:12Mm-hmm.
19:16Tommy, we're idiots.
19:18She needn't have gone back to Torquay at all.
19:20But she sent Jones the receipted bill.
19:22Look, she need only have got a friend
19:24to go to the hotel, collect her luggage, settle up.
19:26Then she would have had a receipt with a proper date on it.
19:28Nothing easier.
19:30Oh, well, that's it then.
19:32I think, on the whole, we've managed a very
19:34sound hypothesis. Well done, us.
19:40You really think it could be that simple?
19:42The best answers usually are. The trick
19:44is how to spot them.
19:46She also sent Monty
19:48her bill for lunch on the train.
19:50Monty?
19:52We could just see if she was actually on board.
19:54Not a hope, my darling.
19:56Why not? Because the odds against these
19:58being the same dining car attendants,
20:00let alone us being the same train,
20:02are astronomical. Oh, how disappointing.
20:04Are we ready
20:06to order dinner, sir? Yes.
20:08Salmon sounds nice.
20:10Fresh today, miss. Scotch salmon.
20:12And the roast beef?
20:14Going off the joints just perfect, miss.
20:16And we offer a choice of roast or boiled potatoes,
20:18buttered carrots, peas, beans, and cauliflower.
20:22No, I don't think we'll have anything.
20:24We'll dine at the other end.
20:26Just two gin fizzies, please.
20:28Yes, sir. Excuse me.
20:30You don't
20:32by any chance happen to
20:34remember if this lady had
20:36lunch on the train Tuesday last?
20:38Oh, yes.
20:40A young lady from Australia.
20:42You remember her?
20:44Oh, very clearly, sir. It's a good likeness.
20:46Are you sure it was Tuesday?
20:48I couldn't really forget it, sir.
20:50She drew my attention to it herself.
20:54Would you like
20:56some coffee, miss? Yes, please.
21:04Oh.
21:06I'm really sorry, miss.
21:08I nearly went on your dress. Oh, I wouldn't have.
21:10Tuesday's the luckiest day of the week for me.
21:12I'm really sorry, miss.
21:14Don't give it another thought.
21:16I told you, Tuesday's lucky for me.
21:20Ten years in this business,
21:22that's the first time I nearly scolded someone.
21:24I wouldn't forget it, sir.
21:26I'll fetch your drink, sir.
21:28Fancy his
21:30remembering. Yes.
21:32What an extraordinary piece of luck
21:34to land on the very attendants
21:36who served her. And it isn't even
21:38Tuesday.
21:40At least we've established
21:42that she did go down to Torquay.
21:44Yes, but since we know she was in London that evening,
21:46we now have to discover
21:48how she got back again in time.
21:50Yes. Oh, Tommy.
21:54I'm famished.
21:56Much better if we dine at the hotel.
21:58We can question the waiters discreetly.
22:00Kill two birds with one stone.
22:08You mean we're too late?
22:10Well, out of season.
22:12Dinner's over at nine. I'm sorry.
22:14Couldn't we have anything at all?
22:16I could maybe ask the chambermaid
22:18to bring some sandwiches up to your room,
22:20if that would be all right.
22:22Sandwiches? That'll do nicely, thank you.
22:24If you'd like to sign the register, please,
22:26Mr. Blunt. Oh, certainly.
22:32By the way, I understand
22:34you had a friend with you.
22:36Miss Euna Drake.
22:38Oh, yes, I remember her.
22:40Australian, wasn't she?
22:42This is a rather charming photograph of her,
22:44don't you think?
22:46Why, yes, it is. It's caught her expression exactly.
22:48Did she stay here long?
22:50Only the one night.
22:52She caught the express the next morning
22:54back to London.
22:56The next morning?
22:58It did seem rather a long way to go,
23:00just for one night.
23:02Still, I imagine Australian ladies
23:04don't think anything of travelling such distances.
23:06No, no.
23:08Well, she's a very adventurous girl.
23:10She's always setting off
23:12on adventures.
23:16It was here, wasn't it,
23:18that she was invited out to dine with friends,
23:20went for a drive, drove her car into a ditch
23:22and didn't get back till morning?
23:24Oh. No.
23:26Miss Drake had dinner here at the hotel.
23:28Oh.
23:30Are you sure?
23:32How do you know?
23:34Well, I saw her.
23:36Really?
23:38I only asked because we understood
23:40that she had dined with some friends in Torquay.
23:42Oh, no, sir.
23:44She had dinner here at the hotel,
23:46I remember, because she wore the most sweet frock.
23:48I felt quite envious.
23:50It was black bugle-beaded chiffon
23:52with a skirt all over pansies.
23:54Very stylish.
23:56Yes, it was.
23:58Well, I'll fetch your keys, sir.
24:02I'll have your luggage sent up.
24:04And I'll see to the sandwiches.
24:06I'll take care of it myself.
24:08That would be most kind.
24:10Perhaps you should see the head waiter about Miss Drake.
24:12He should still be in the dining room
24:14through the residence lounge.
24:16He's sure to remember her.
24:18Thank you very much.
24:20Oh, I'm sorry, sir, madam.
24:22We're closed.
24:24Yes, we know.
24:26But a friend of mine was staying here
24:28last Tuesday and said how ravishing
24:30the dining room was.
24:32Oh, perhaps you remember her.
24:34She was wearing a black bugle-beaded dress
24:36with a skirt all over pansies,
24:38I believe.
24:40Oh, yes.
24:42I remember.
24:44Oh, yes.
24:46I remember.
24:48Oh, Miss Drake, yes.
24:50Australian.
24:52So she did dine here?
24:54Last Tuesday, we got talking.
24:56Yes?
24:58She asked me if there was anything to do afterwards in town.
25:00Yes.
25:02I told her the theatre, the pavilion.
25:04So after dinner, she did go out?
25:06No.
25:08No.
25:10No, in the end, she decided not to.
25:12She stayed here, listening to Mrs Purvis
25:14on the piano.
25:16She plays Monday to Friday.
25:18Saturdays, we have the string ensemble.
25:20Ah.
25:22You don't remember
25:24what time she came down for dinner?
25:26Well, it was well after 8 o'clock.
25:28There was practically nobody else here.
25:30And what time did she leave?
25:32Oh, let me see.
25:34Saint-Goujon,
25:36fillet steak,
25:38marmalade tart, cheese and coffee.
25:40For a slip of a thing,
25:42she could surely tuck it away.
25:44Must have been well past 9.
25:46She didn't half liven things up, though.
25:48She had Mrs Purvis playing
25:50Waltzing Matilda,
25:52and how she laughed.
25:54Oh, it did your heart good to hear it.
25:56Damn curse and blast!
25:58Doubled.
26:00It's all going wrong,
26:02and it seems so clear and definite.
26:04Well, we knew it wouldn't all be plain sailing.
26:06Well, it's getting decidedly stormy,
26:08and I still haven't forgiven you
26:10for not letting us have dinner on the train.
26:12When I think of that fresh salmon
26:14and roast sirloin.
26:16I'd forgotten the hotel was out of season,
26:18that's all.
26:20And then when we got here,
26:22you started making sheep's eyes
26:24at that giggling female in reception.
26:26I did not.
26:28Smarming over her?
26:30That is quite uncalled for, Tuppence.
26:32And what about you?
26:34Me?
26:36Yes, you.
26:38Your friend Monty,
26:40or perhaps it was Le Marchant, even worse.
26:42I mean, he was practically seducing you in front of my very eyes.
26:44Ladies are used to such attentions.
26:46We do not encourage them.
26:48Well, tell that to the receptionist.
26:58PHONE RINGS
27:00PHONE RINGS
27:08I'm sorry, darling.
27:10We're both tired and hungry.
27:12And whose fault's that?
27:14The point is, this whole investigation's going wrong.
27:16Yes.
27:26I'm sorry, Tom.
27:28Yes.
27:30So am I.
27:34Where's that blasted chambermaid
27:36with our sandwiches?
27:38Oh, she's our last hope.
27:40Isn't there any train that Unidre could have got
27:42after nine o'clock?
27:44Not one that would have landed her in London in time to get to the Savoy.
27:46Uh-huh.
27:50That's most welcome.
27:52Evening, sir. Evening, madam.
27:54Put it here, shall I?
27:56Yes, yes, that's fine.
27:58There's ham,
28:00cheese and tomato, and sardine.
28:02Would you like me to pour?
28:04No, no, thanks. Oh, yes.
28:06Please.
28:08I...
28:10I wonder if you'd recognise
28:12this photograph of a friend of mine.
28:16Afraid not, madam.
28:18I don't know the young lady.
28:20Oh, silly of me.
28:22I meant this one.
28:24Oh!
28:26That's the young lady from Australia.
28:28She was in the room two doors along.
28:30She's a friend of yours, madam.
28:32It's because of her we're here.
28:34Fancy.
28:36She's very nice.
28:38Very friendly and talkative.
28:40That's a nice picture of her, that.
28:42Very nice.
28:44So you talk to her?
28:46Oh, quite a lot, sir.
28:48She was very interesting.
28:50That evening, Tuesday evening,
28:52I come in to turn down the bed.
28:58You'd better hurry on, or I'll be late for dinner.
29:00You're all right, miss. It's just gone eight o'clock.
29:02Look, I wonder if you'd mind helping me.
29:04I can't quite...
29:08There. Thank you.
29:12Ever such a lovely dress, miss.
29:14Oh, thank you.
29:16You don't mind my asking,
29:18but you're not English, are you?
29:20Not exactly,
29:22but I'm British, like gum trees and kangaroos.
29:26I was born in Melbourne, in the state of Victoria,
29:28where Nellie Melba comes from.
29:30The opera singer?
29:32That's her, Dame Nellie.
29:34She took her name from there, Melba, from Melbourne.
29:36Just fancy.
29:40Told me ever such a lot about Australia.
29:42You didn't happen to see her later, though?
29:44Well, yes, I did.
29:46Because she rang down about ten for a hot water bottle.
29:48And then,
29:50the next morning,
29:52she asked for a call at 7.30,
29:54with coffee instead of tea.
29:56Now, I've worked here for 18 years,
29:58and it's very unusual,
30:00coffee.
30:02I suppose her being Australian.
30:06And you did call her?
30:08And she was in bed?
30:10Yes, ma'am, of course.
30:12Only, well, I just wondered
30:14if she was doing her exercises
30:16or anything.
30:18She often does,
30:20first thing in the morning.
30:22No, ma'am, I woke her.
30:24Will that be all?
30:26More than enough.
30:30Good night, then.
30:32Good night.
30:38Wow!
30:40That just about tears it.
30:42Into shreds.
30:44I don't even feel hungry anymore.
30:46No.
30:48Nellie Melba, Waltzing Matilda,
30:50Tuesday's her lucky day.
30:52She's cocking a snook at us.
30:54Oh, at Monty Jones, you mean.
30:56Well, one thing's certain.
30:58She and I spent Tuesday night here at the Castle Hotel.
31:00Oh, no doubt about it.
31:02Which makes your friend Peter Lamarche
31:04the most accomplished liar I have ever met.
31:06Yes.
31:08Though we've yet to check his story
31:10with the people at the table next door.
31:12Yes.
31:14I bet she's banking on us not being able to find them.
31:16Well, we certainly can't, stuck down here.
31:18And there's not another train till morning.
31:20There's not another train till morning.
31:26I can't thank you both enough.
31:28I was rather afraid she'd baffle you.
31:30And we can prove beyond doubt
31:32that she was in Torquay.
31:34Oh, yes, yes.
31:36She booked in in person into the Castle Hotel
31:38at about 4.30, dined there, slept there
31:40and did not leave until she caught the express
31:42back to town on Wednesday morning.
31:44I say. And we can absolutely prove
31:46that she wasn't in London.
31:48As soon as Albert returns from interviewing those people
31:50at the next table...
31:52Foglanders.
31:54Thank you, Miss Robinson.
31:56And confirms that Peter Lamarche's story
31:58is a complete fabrication, the case will be closed.
32:00Top hell. Do call me at once.
32:02Talk of the devil.
32:04Now I can scoot along and tell Eula
32:06I have proof she spent the night in Torquay.
32:08Why not? Because she was in London.
32:10London? London.
32:12Without a doubt.
32:14It's not possible.
32:16I mean, she couldn't be in two places at once.
32:18Could she?
32:20No.
32:22Well, what are we going to do about it?
32:26I haven't the faintest idea.
32:28I don't understand.
32:30Neither do I, Mr Jones.
32:32I think if you'll excuse us,
32:34we should have a professional conference.
32:36Yes, yes, of course.
32:38But what am I to say to Eula?
32:40Oh, nothing for the moment. We'll be in touch.
32:42I don't like to mention it,
32:44but your advertisement did say
32:46results in 24 hours.
32:48We may have to apply for an extension.
32:50Good day.
32:54London?
32:56I've just come from Mrs Foglander.
32:58She spoke to Eula Drake at 10.30 at Savoy,
33:00and she's saying she was still sitting
33:02with Peter Lamarche at her midnight.
33:04That would prove that she was safely tucked up in bed
33:06at the Castle Hotel!
33:08Exactly!
33:10Oh, shut up!
33:12It puts us right back where we started.
33:14Further back.
33:16Because now we've verified both stories,
33:18we have nowhere left to turn.
33:20There's just one chance.
33:22Marjorie Lester, Eula Drake's flatmate.
33:24If you talk to her, you only give the old game away.
33:26Well, that's a risk we'll have to take.
33:28I'll come with you.
33:30Oh, better not, darling.
33:32So what did you find out?
33:34As far as she's concerned,
33:36the Drake girl was there last Tuesday.
33:38In their flat?
33:40Slept there.
33:42And the other thing is that Eula Drake
33:44does seem to be under some sort of strain.
33:46I'm not surprised.
33:48Well, somebody must be lying.
33:50But who?
33:52The odd thing is,
33:54it strikes me that nobody was lying.
33:56I know.
33:58They all seem so straightforward and truthful.
34:00This is a physical impossibility
34:02for one person to be in two places
34:04at the same time.
34:06I suppose there's nothing in the theory
34:08of astral bodies.
34:10Astral bodies?
34:12Oh, there couldn't be.
34:16I've just thought of something.
34:18No, I'm not going to tell you.
34:20I'm going to send a cable first.
34:22See you in a jiff, darling.
34:30Morning, Albert.
34:32I missed you.
34:34Oh, what a beautiful day.
34:36Is it?
34:38Where have you been all morning?
34:40Out and about.
34:42Chasing after astral bodies?
34:44Yes, as a matter of fact.
34:46And finding one.
34:48Monty has gone to collect it.
34:50You'll see.
34:52I promise.
34:54Well, if you're so clever,
34:56you can give me a hand with this.
34:58Oh, you know I'm no good at crosswords.
35:00Just try.
35:02Nine letters.
35:04The poet saw ten thousand of them.
35:08Daffodils.
35:10I beg your pardon?
35:12Ten thousand saw I at a glance.
35:14A host of golden daffodils.
35:16Wordsworth.
35:18I thought you weren't any good
35:20at crosswords.
35:22No news of those stolen paintings, is there?
35:24No, not yet.
35:26Good Lord.
35:28What?
35:30Stop razzle.
35:32The body of businessman Peter Le Marchand
35:36was found early this morning
35:38in his office in the city.
35:40Death appears to have been
35:42caused by a blunt instrument.
35:44Police suspect foul play.
35:48You don't suppose?
35:50I'm trying not to.
35:52It couldn't have anything to do
35:54with our case, could it?
35:56No, no, but you know
35:58Drake would be very upset.
36:00I think if you're planning to
36:02spring something on her, it might be better to wait.
36:04Oh, yes.
36:06Yes.
36:08But I think I'd better have
36:10another word with her flatmate.
36:16You wanted to speak to Marjorie?
36:18I'd hoped to.
36:20I'm afraid she's not here.
36:22She doesn't live here anymore.
36:24She doesn't?
36:26Well, it's a small apartment, and it's mine.
36:28We've been discussing it for some time.
36:30She decided to move out.
36:32Well, it's just
36:34that she didn't mention it yesterday.
36:36You're the reporter
36:38who called?
36:40Yes.
36:42I also called last Tuesday.
36:44Well, you wouldn't have caught me.
36:46I spent the night in Torquay.
36:48But Marjorie said that you were here.
36:50But she said she saw you in bed in the morning.
36:52Well, you know how it is.
36:54When you expect to see something, you see it.
36:56She probably saw an unmade bed
36:58and assumed I was in it.
37:00Not that it matters.
37:02No, of course not,
37:04Miss Drake.
37:06Well, Miss...
37:12Robinson.
37:14Robinson. How can I help you?
37:16I'm writing an article
37:18on women in the professions
37:20for Society Illustrated,
37:22and, well, as Marjorie's
37:24unavailable, perhaps you could help me.
37:26As an editor of an arts magazine
37:28and notable in London society,
37:30I'm sure my readers would find it fascinating,
37:32Miss Drake.
37:34I see.
37:36Well, I'm afraid it's only a very small magazine,
37:38and I'm only in the outer fringes of society.
37:40Your readers may not find my life
37:42too glamorous.
37:44Naturally, I don't want to disturb you
37:46so soon after the death of your friend,
37:48Peter LeMarchand.
37:52Peter LeMarchand?
37:54Yes, it was a shock.
37:56We weren't really
37:58close friends. I hadn't seen him for several weeks.
38:02But it was upsetting.
38:04Look, I'm sure you'll understand.
38:06I don't feel like giving an interview just now.
38:08I...
38:10quite understand.
38:12Well,
38:14I wish I did.
38:16You mean she now denies being in London
38:18at all on Tuesday?
38:20Yes. She claimed she was in Torquay.
38:22But why go to the length of setting up
38:24two elaborate alibis and then
38:26throw one away?
38:28I know. And why is she so desperate now
38:30to prove that she wasn't with Peter LeMarchand
38:32last Tuesday?
38:34And nothing happened to him last Tuesday?
38:36I know.
38:38Sorry about this.
38:40I called the Press Association
38:42as soon as you'd gone. There's no such paper as
38:44Society Illustrated, so I decided to follow you.
38:46Miss Drake...
38:48You too have been hired by that idiot Monty Jones, haven't you?
38:50There seems little point in denying it,
38:52Miss Drake.
38:54I might have expected him to go running for help.
38:56Well, you can tell him the bet's off.
38:58I can appreciate how you feel.
39:00I doubt it. And I'd appreciate it
39:02if you and Monty would stay out of my affairs
39:04from now on.
39:06Just for the record, Miss Drake,
39:09which of the alibis was the true one?
39:11Torquay.
39:13But it's of no importance now.
39:15It is important, Miss Drake, because you're lying,
39:17and we want to know why.
39:19How dare you! You were in London.
39:21I can prove it.
39:23What proof?
39:25Nothing but circumstantial evidence and hearsay.
39:27Oh, no. Something a little more positive than that.
39:30Why don't you want anyone to know
39:32that you were with Peter LeMarchand that evening?
39:34You're bluffing.
39:36I assure you we're not.
39:40It would be better for you if you weren't so clever.
39:43I want both of you to stay out of my affairs.
39:46Give me the gun.
39:48You're not going to use it.
39:50Don't be so sure.
39:53You won't use it because that would be foolish.
39:57And you're not a fool.
39:59Get back over there.
40:01Shooting us won't do any good, you know.
40:03You've lost the bet.
40:05You're the only one that knows that.
40:07I'm in so far already.
40:09She's on her way here.
40:11I don't believe you.
40:13She'll be here any minute.
40:15Well, that's a chance I'll have to take.
40:18Don't answer.
40:20Una! I've brought...
40:22Vera! Una!
40:25Are you all right?
40:27What are you doing here? You were to stay away.
40:29You've spoiled everything.
40:31I was worried about you.
40:33They said you were in trouble.
40:41You'd better let me have that.
40:46Astral bodies.
40:48Gemini.
40:50Twins.
40:53Don't cry. It's all right.
40:55When she got off the channel steamer,
40:57I couldn't believe it.
40:59It was the only thing left.
41:01That cable I sent to Melbourne.
41:03The answer I received was that
41:05Una Drake's twin sister Vera
41:07arrived in London last Monday.
41:09And Vera was the one in Torquay.
41:11Una had to stay in London because she was known.
41:14Vera agreed to help her
41:16and then left for Italy
41:18the next day to go on with her tour.
41:20But how did you know where to find her?
41:22Luckily, she'd left a forwarding address at Australia House.
41:25And I phoned the consul in Rome.
41:27Look, will someone tell me what's going on?
41:29What's wrong?
41:31We were hoping that your sister would tell us that, Vera.
41:34We'd like to be able to help her.
41:36No one can.
41:38Is it something to do with Peter LeMarchand?
41:42I thought I loved him.
41:46It was partly because of him I wanted to be rid of Monty,
41:49so I set up the alibis.
41:51I knew Vera was coming over and she would join in.
41:54I didn't think anyone could solve them.
41:56But today you tried to pretend
41:58that you hadn't seen Peter LeMarchand for some time.
42:01Was it because you were afraid?
42:04Were you with him last night?
42:06Yes, I saw him.
42:09I went to his office.
42:11We had an argument.
42:18I killed him.
42:20Una!
42:22Una!
42:24You'd better tell us about it.
42:38I had gambling debts.
42:40I'd hit a losing streak and plunged deep for trying to settle them.
42:44I couldn't clear them up.
42:47And then Peter said he could suggest a way
42:49for us both to make money with no risk.
42:52Something criminal.
42:55I have many contacts in museums and art galleries.
42:59I was to check out their security
43:01and tell him of any objects of special value.
43:04He would arrange to have them stolen
43:06and export them to buyers abroad.
43:08But you didn't let yourself get involved in something like that.
43:12Yes.
43:13Oh, Una.
43:15The paintings from the Wordsworth Gallery.
43:17That was to be the last.
43:19I was only doing it because I was desperate.
43:22The Herrick paintings were the most valuable we'd ever handled
43:25and with my share I could pay off the bookmakers
43:27and be free of them for good.
43:30But I couldn't get my share out of Peter.
43:34He always made an excuse for not seeing me.
43:38But last night I knew he was working late.
43:43So I went to his office.
43:49Peter.
44:01Peter.
44:03Una, who let you in?
44:05Peter, I can't wait any longer.
44:07You're going to have to, my dear.
44:09I must have that money.
44:10Do you think I keep amounts like that in the office?
44:14Peter, I'm nearly frantic.
44:17You could do with a drink.
44:20It's not like you to be so emotional.
44:22Some of the bookies have started threatening me.
44:26They won't wait forever.
44:31We ought to start planning our next job.
44:33I told you I'm finished with that.
44:35Don't be crazy.
44:38How else are you going to make that kind of money?
44:40I only did it to get myself out of this mess.
44:42I hated myself for it. I can't go on with it.
44:47You're serious.
44:51That's a pity.
44:54Well, I could let you have maybe...
44:58500 pounds.
45:00I need more than that.
45:02Better take it.
45:03What do you mean?
45:04That's your share.
45:07But you got over 30,000 for those paintings.
45:09I'm in for a third of that.
45:11You were in, but now...
45:13unless you change your mind about the next job,
45:16that's all I'm prepared to give you.
45:18Peter.
45:19Perhaps this as well was splitting up.
45:21I don't like private detectives coming round here asking questions about you.
45:25Oh, I explained that. Monty must have hired them.
45:27No, something. You played this all wrong.
45:29Instead of coking up that alibi business to get rid of him,
45:33you should have asked him for the money.
45:34Asked him?
45:35He'd have settled your debts.
45:36He's stupid enough.
45:38How can you even suggest such a thing?
45:40I thought you cared about me.
45:43You were useful.
45:45And you're pretty.
45:50I was useful to you?
45:52That's all you wanted me for?
45:56Well, all right, it's over.
45:59But I'm not leaving here until you hand over what you owe me.
46:03Or what?
46:04You'll go to the police?
46:06You'd better take the 500
46:09before I change my mind and throw you out.
46:14You...
46:17Now, get out.
46:19And you'll keep your mouth shut if you know what's good for you.
46:37No!
46:44Peter?
46:48Oh.
46:51Peter.
46:54Peter.
46:57Peter.
47:01Una.
47:03Oh, you hurt her. She didn't mean it. It was an accident.
47:06Are you going to call the police?
47:08I'm afraid we have to.
47:09I'm sorry, Vera.
47:11Tubbins, will you take them into your office?
47:13Yes.
47:14You can sit with her until they arrive.
47:23She'll get off, won't she?
47:25Possibly, if she tells it like that.
47:28She'll still have to stand trial for the arts theft.
47:32She'll need a good lawyer.
47:37I'll make sure she has the best there is.
47:40It's very decent of you, Mr Jones.
47:43Well, I mean...
47:45I know she probably still won't look at me, but...
47:51Is there anything else one can do?
47:54Yes.
47:55Perhaps you'll get rid of this.
47:57I don't think we need mention it.
48:01You're pretty decent, too, Mr Blunt.
48:11Well?
48:12Quite by chance. We seem to have solved three cases at once.
48:16Dear sir, is this a record?
48:19Tommy, have you realised that we'll be offered the reward from the art gallery?
48:23It had occurred to me.
48:27Hardly seems right.
48:28After all, it just fell into our laps.
48:31I suppose we could always give it back.
48:33Oh, certainly not.
48:34I think of all sorts of things we can do with it.
48:37How about a weekend in Torquay?
49:37THE END