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00:00:00["Pomp and Circumstance"]
00:00:30["Pomp and Circumstance"]
00:00:33["Pomp and Circumstance"]
00:00:36["Pomp and Circumstance"]
00:00:39I just don't like Tommy going over there.
00:00:42You shouldn't have said he could go then.
00:00:44If Tommy ever found out what he does to those poor rabbits...
00:00:49What's the matter with the rabbits?
00:00:52Oh, he uses them for drugs, tests, experiments.
00:00:56All that sort of thing.
00:00:58What about the people?
00:01:00Have you ever thought about the suffering and torment they go through?
00:01:04Can you imagine what it's like to get used to a drug and then have it taken away from you?
00:01:13People have gone raving mad.
00:01:15And all you can think about are the rabbits.
00:01:19["Pomp and Circumstance"]
00:01:27The evening.
00:01:49Everything all right then, Hawkins?
00:01:51Yes, my lady. She's been thoroughly overhauled.
00:01:55That's all right, then.
00:01:57Quite a bust you've got there.
00:02:02Yes, sir.
00:02:18You'll get some pace out of that.
00:02:21I do.
00:02:25You'll put up at the angler's arms instead, will you, Hawkins?
00:02:30I'll telephone you tomorrow if I want the car.
00:02:33Fancy a game of croquet before tea?
00:02:35Only if you promise to let me beat you.
00:02:41Has the young lady had many accidents?
00:02:43More of a danger to herself than other people.
00:02:46There's women in it.
00:02:47Oi, woman behind the wheel.
00:02:49Well, it's hardly natural, is there?
00:02:51Still, she's lucky to end up where she did.
00:02:53It's a nice house, Meriway Court.
00:02:56Only big place around here, is it?
00:02:58Well, it's the Grange.
00:03:00It's been empty for years until it was taken over by this Canadian doctor.
00:03:03Nicholson, his name is.
00:03:05There's a very queer goings-on up there, if you ask me.
00:03:09Goings-on?
00:03:11Well, there's them who don't want to be there.
00:03:14And there's them who's put away at the Grange by their relations.
00:03:19Oh, I assure you, Mr. Hawkins,
00:03:21the moanings and groanings and shriekings are going up there you wouldn't believe.
00:03:44Mmm.
00:04:14Mmm.
00:04:44Mmm.
00:04:47Mmm.
00:04:49Mmm.
00:05:20Mmm.
00:05:26It's all right. It's quite all right.
00:05:30What's the matter?
00:05:34No. No, no, no. I want to help you.
00:05:39No one can help me.
00:05:42Well, at least tell me what it is that frightens...
00:05:49You're the girl in the photograph.
00:05:54They're coming. They're coming.
00:05:57You can't help me unless you go now.
00:05:59You must go now. Please.
00:06:02Mr. Hawkins?
00:06:04Mr. Hawkins?
00:06:06Oh, er, yes.
00:06:08Sorry, I was miles away.
00:06:10You were wanted on the telephone.
00:06:19Hello? Hello?
00:06:21Hello, Frankie.
00:06:23Lady Frances Derwent here. Is that you, Hawkins?
00:06:25Yes, my lady.
00:06:27I want the car ten o'clock to take me up to London.
00:06:30Very good, your ladyship.
00:06:32It is a nuisance having to go up to London today
00:06:35just because Father insists I see his daughter.
00:06:38He's perfectly right.
00:06:40I'd half thought of asking you to give me a lift.
00:06:45That would be lovely.
00:06:47But on second thoughts, I don't think I'd better go up today.
00:06:50That wretched brother of mine's even odder than usual.
00:06:53I don't want to leave Sylvia alone with him.
00:06:56I can imagine how you feel.
00:06:58You will be back this evening?
00:07:01Yes, of course.
00:07:03Well, I'll look forward to that.
00:07:17DOOR OPENS
00:07:48DOOR CLOSES
00:07:54Goodbye. You are coming back?
00:07:56I told you, this evening.
00:07:58Promise?
00:08:00I promise.
00:08:03BIRDS CHIRP
00:08:15CAR STARTS
00:08:25She's gone.
00:08:27Don't worry, Sylvia.
00:08:29She'll be back.
00:08:32Right. I think we can talk.
00:08:34Do you talk to Hawkins?
00:08:36You're not Hawkins.
00:08:38I know that, and it really is quite a strain.
00:08:41I mean, for instance, when does one say,
00:08:43My lady, and when does one say,
00:08:45Your ladyship?
00:08:47It's the sort of thing the real Hawkins knows, and I don't.
00:08:50I could get caught out.
00:08:52I think I'm molting.
00:08:54It really is frightfully good.
00:08:56It's also frightfully uncomfortable.
00:08:58Now, I'm nearly certain that the dead man
00:09:00was someone called Carstairs.
00:09:02Carstairs?
00:09:04Alan Carstairs. He was a big game hunter and explorer,
00:09:06and he was brought down to the Basington Frenches
00:09:08by some people called Rivington.
00:09:10And I've found the original of the photograph.
00:09:13Not the one in a man's pocket.
00:09:15Yes.
00:09:17I mean, that's marvellous. Where?
00:09:19In the grounds of Dr Nicholson's nursing home.
00:09:22You know, I'm afraid of that man, Nicholson.
00:09:24I think he's definitely suspicious.
00:09:26You mean you don't like him?
00:09:28Well, Sylvia doesn't like him either.
00:09:30Frankie, what do you think's at the bottom of all this?
00:09:33Morphia.
00:09:35Morphia?
00:09:37It's the only thing that you and I
00:09:39and Dr Nicholson have in common.
00:09:41I don't understand.
00:09:43It's too much of a coincidence.
00:09:45First, someone tries to poison you,
00:09:47and then you say,
00:09:50First, someone tries to poison you with morphia.
00:09:52Then Roger's worried his brother's a morphine addict.
00:09:55Then Dr Nicholson turns up
00:09:57in charge of a clinic who uses morphia.
00:10:00What's more, on the day that you were poisoned,
00:10:02Roger was at Merriway Court and Dr Nicholson wasn't.
00:10:05And remember that he drives a dark green Talbot saloon.
00:10:08Well, not exactly evidence, I know,
00:10:11but you must admit it fits nicely.
00:10:13Almost too nicely.
00:10:15And Roger?
00:10:17What about him?
00:10:19You know, I think you're wrong about him.
00:10:21In what way?
00:10:23Well, you've cast him as the villain of the piece, haven't you?
00:10:26Not at all. You worked it out logically,
00:10:28and you decided he must be the villain of the piece.
00:10:31Because of the photograph.
00:10:33Yes. Roger was on that clifftop when the man went over.
00:10:35No-one else could have changed it.
00:10:37But that's all we've got against him, really, isn't it?
00:10:39All?
00:10:41Oh, well, I know, but...
00:10:43now I feel he's innocent.
00:10:45Frankie...
00:10:47you haven't fallen for Roger, have you?
00:10:50Don't be absurd.
00:10:53Bobby, I just feel there must be some sort of innocent explanation.
00:10:57I don't see how there can be,
00:10:59especially now that we've found the girl in the photograph
00:11:01actually in the neighbourhood.
00:11:03That seems to clinch the matter.
00:11:05Frankie, duck!
00:11:16The question is,
00:11:18did Alan Carstairs get the Rivingtons
00:11:20to bring him down to Stavely deliberately,
00:11:22or was it just chance?
00:11:24Or was he simply on the track of the girl?
00:11:28The girl?
00:11:30She may have been abducted.
00:11:32He may have come to England to find her.
00:11:34That might explain why he was carrying the photograph.
00:11:37If he tracked her down to Stavely,
00:11:39what was he doing in Wales?
00:11:41Obviously there's a lot we don't know yet.
00:11:43Like Evans.
00:11:45Evans?
00:11:46Why didn't they ask Evans?
00:11:48We haven't had any clues about Evans's at all.
00:11:51Evans's part of it must be to do with Wales.
00:11:55When we get to London,
00:11:57I think we'll go to Brook Street,
00:11:59farthest away in the house, practically empty.
00:12:01We can decide what to do about the Rivingtons there.
00:12:04Rivington, Rivington builders, Rivington dental surgeon,
00:12:07don't think so, do you?
00:12:09Miss Florence Rivington, Colonel H Rivington,
00:12:11DSO, Tight Street, Chelsea.
00:12:13That sounds more like it.
00:12:15There are four more, but we've got to start somewhere,
00:12:17and I think Tight Street sounds as good a place as any.
00:12:19But what are we going to say?
00:12:21Think up a few good lies, Frankie.
00:12:23I'm useless at that sort of thing.
00:12:25You'll have to go, you know.
00:12:27Like this?
00:12:29No.
00:12:30No, it's a junior partner in a solicitor's firm, I think.
00:12:33That seems the most gentlemanly role.
00:12:35I was afraid you might think of something much worse than that.
00:12:38Ah, just a minute. Oh, here we are.
00:12:41Mr Frederick Sprague.
00:12:44You are a young member of the firm Sprague Sprague,
00:12:47Jenkinson and Sprague of Bloomsbury Square.
00:12:49They're father's solicitors.
00:12:51I suppose you'll have to stick with that moustache.
00:12:53I'm afraid it's sticking to me.
00:12:55If you're borrowing father's solicitors, you'd better borrow his clothes.
00:12:57They'll sue me for false representation, or whatever it's called.
00:13:00No, they can't. The only living Sprague's about a hundred.
00:13:03Oh, Sloane 0629.
00:13:06Here, hold a second, will you?
00:13:08He's a terrible snob, and he's out of my hand.
00:13:10Yes, I know, but...
00:13:11Don't worry, I'll fix him if things go wrong.
00:13:14Good afternoon.
00:13:16This is Sprague Sprague, Jenkinson and Sprague.
00:13:19The young man who phoned from your office said the matter was urgent.
00:13:22Yes, Sloane.
00:13:24Sprague. Yes, yes, it is, rather.
00:13:27It's about our client, Mr Alan Casters.
00:13:31Oh, yes?
00:13:33Perhaps he mentioned we were acting for him.
00:13:35I believe he did.
00:13:37But, of course, I know all about you, anyhow.
00:13:40You do?
00:13:42You acted for Dolly Metravers, didn't you,
00:13:44when she shot that dreadful dressmaker man.
00:13:46I suppose you know all the details.
00:13:48We know a lot that never reaches the general public.
00:13:51I suppose you must.
00:13:53But tell me, did she really...
00:13:56I mean, was she really dressed as that woman said?
00:14:01The story was contradicted in court.
00:14:04Oh.
00:14:06Oh, I see. Well, do sit down.
00:14:09Mind you...
00:14:11Now, about Mr Casters.
00:14:13He left England very suddenly, as perhaps you know.
00:14:17No, I didn't know. We haven't seen him since.
00:14:20Mind you, I always had my suspicions about Dolly Metravers.
00:14:23She did get off, Mrs Rivington.
00:14:26Oh, but I ask you...
00:14:28To return to Mr Casters, you saw him last when?
00:14:31Oh, six weeks ago, two months. I really can't remember.
00:14:34But surely... Oh, yes, of course I can.
00:14:37It was when we took him down to Staveley.
00:14:39He'd just arrived in England and we were going to Scotland.
00:14:42So I said to Hubert,
00:14:44let's take him down with us to the Bassington Frenchies.
00:14:46They won't mind.
00:14:48So we did, and of course they didn't.
00:14:50He didn't know the Bassington Frenchies?
00:14:52No, but I think he liked them.
00:14:54Though something seemed to upset him.
00:14:56He was very quiet and moody on the way home.
00:14:59But then, of course, he's a Canadian.
00:15:01Canadians are so awfully touchy, don't you think?
00:15:04You don't know what it was that upset him?
00:15:07I haven't the least idea.
00:15:10Did he meet any of the neighbours?
00:15:12Go for a walk, anything like that?
00:15:14No, it's just ourselves and them.
00:15:17But it's odd you're saying that,
00:15:19because he did ask an awful lot of questions
00:15:21about some people who lived nearby.
00:15:23A doctor, something or other.
00:15:25Nicholson?
00:15:27How did you know him?
00:15:29Oh, I must say, he sounds absolutely fascinating.
00:15:32Did Mr Carstairs know the Nicholsons?
00:15:35No.
00:15:37And that's what made it so odd,
00:15:39because he wasn't a curious man as a rule.
00:15:41But he wanted to know all about them,
00:15:43how long they'd lived there,
00:15:45where they came from, all that sort of thing.
00:15:47Did he say why he himself was in England?
00:15:50No.
00:15:52But we thought, Hubert and I,
00:15:54you were that poor millennial friend of his
00:15:56who died so tragically.
00:15:58Now, what was his name? You know.
00:16:00Savage. John Savage.
00:16:02Alan was very upset about that.
00:16:04Do you know,
00:16:06some doctor actually told the poor man
00:16:08that he had cancer,
00:16:10and he killed himself.
00:16:12Disgraceful!
00:16:14I mean, only last spring,
00:16:16our doctor told poor Hubert that he had mumps,
00:16:18when all it was were swollen glands.
00:16:20Thank God.
00:16:23To return to Mr Carstairs,
00:16:26we're trying to trace him rather urgently, you see,
00:16:28and he hasn't left an address.
00:16:30And when we heard him mention
00:16:32that he was a friend of yours,
00:16:34we thought you might be able to help us.
00:16:36Oh, I see.
00:16:38No, I'm afraid I can't.
00:16:40We haven't seen him since.
00:16:42Ah.
00:16:44Well, thank you very much, Mrs Rivington.
00:16:46I do apologise
00:16:48for having taken up so much of your time.
00:16:50But it's so interesting, I think,
00:16:52the way the legal mind operates.
00:16:54And, of course, it's fascinating
00:16:56to know that Dolly McTravers
00:16:58really did.
00:17:00Mrs Rivington, I said nothing at all.
00:17:02Yes, but then you lawyers are always so discreet,
00:17:04aren't you?
00:17:06So it was just chance
00:17:08he took him to the Bearskins' adventures.
00:17:10And, while he was there,
00:17:12someone mentioned the Nicholsons.
00:17:14You see, it is Nicholson who's at the heart
00:17:16of the mystery, not Roger.
00:17:20All looks quiet.
00:17:24I wonder where they all are.
00:17:26If he wasn't expecting you back
00:17:28so soon, he's probably
00:17:30out pushing people over cliffs.
00:17:34Thank you, Alfred.
00:17:36That'll be all.
00:17:38I'll telephone you
00:17:40when I need you.
00:17:50Anyone at home?
00:18:04I interrupted you.
00:18:10I came back sooner than I meant.
00:18:14Mrs Basinger-French is very upset.
00:18:16Yes.
00:18:18I'd rather gather that.
00:18:20She had to know the truth.
00:18:24I want her to persuade her husband
00:18:26to place himself entirely in my hands.
00:18:30She should mention the matter to you.
00:18:32I hardly think she will do.
00:18:34If she should,
00:18:36try to persuade her
00:18:38that it really would be best.
00:18:40You see,
00:18:44an addict can destroy
00:18:46not only himself, Lady Frances.
00:18:48He can destroy
00:18:50everything he loves best.
00:19:04You said...
00:19:06You said you'd help me.
00:19:08Perhaps I shouldn't have come.
00:19:10Of course you should have come.
00:19:12I'll do anything, anything in the world
00:19:14to help you.
00:19:16Don't be frightened. You're safe now.
00:19:18You must think me mad.
00:19:20You must think me quite mad coming here like this.
00:19:22It's just that I'm so frightened.
00:19:24I'm so terribly frightened.
00:19:26I know you're not mad.
00:19:28I wouldn't blame you if you did,
00:19:30finding me in that dreadful place
00:19:32with all those...
00:19:34Look here.
00:19:36I know nothing about you at all.
00:19:38Tell me.
00:19:40Tell me everything. Tell me who you are.
00:19:44You mean you don't know?
00:19:48I'm Moira Nicholson.
00:19:50Dr Nicholson's my husband.
00:19:52He's going to murder me.
00:20:04I don't understand.
00:20:06Why should your husband want to murder you?
00:20:08Because he wants to marry Sylvia Basington French.
00:20:10But she's married already.
00:20:12He's arranging for that.
00:20:14What do you mean?
00:20:16He's trying to get Henry admitted to the Grange
00:20:18as a patient.
00:20:20And then?
00:20:22Once he was there, something would happen.
00:20:28What does
00:20:30Sylvia's brother-in-law think of this?
00:20:32Roger.
00:20:34He's rather nice, I think.
00:20:36But she's the sort of person who would be very easily deceived.
00:20:38Jasper's working on him
00:20:40to try to persuade Henry to come to the Grange.
00:20:42Don't let him come, please.
00:20:44If he does, something awful will happen.
00:20:46I know it will.
00:20:50How long have you been married to your husband?
00:20:54Just over two years.
00:20:56Haven't you ever thought of leaving him?
00:20:58How could I? I've nowhere to go.
00:21:00I've no money.
00:21:02People would think I was mad.
00:21:04A poor, pathetic woman going around saying
00:21:06her husband was trying to murder her.
00:21:08I've seen it in his eyes when he looks at me.
00:21:10Who would ever believe me?
00:21:14Well,
00:21:16I believe you.
00:21:20Oh, thank you.
00:21:22Look,
00:21:24if I'm going to help,
00:21:26I've got to ask you some questions.
00:21:28Come on.
00:21:38Did you ever know a man called Alan Carstairs?
00:21:44Yes.
00:21:48You knew him before you were married?
00:21:50Yes.
00:21:52Did you at some time or other
00:21:54give him your photograph?
00:21:56Yes.
00:21:58Has he been here to see you
00:22:00since you were married?
00:22:02A few weeks ago.
00:22:06Did your husband know of this?
00:22:08No.
00:22:10Are you sure?
00:22:12I don't understand.
00:22:14Would you say your husband was a jealous man?
00:22:16Jealous? No. Possessive? Yes.
00:22:18Why are you asking me all these questions?
00:22:20Look,
00:22:22there's a lot I have to tell you,
00:22:24but it isn't safe to go on talking here.
00:22:26And besides, you've got to meet Frankie.
00:22:28Lady Frances Derwent?
00:22:30I thought you were her chauffeur.
00:22:32The landlord said you... No, trust me.
00:22:34I'll explain about that too.
00:22:36But we've got to find some place to talk
00:22:38where there's no danger of being overheard.
00:22:50Lady Frances, I'd like you to meet
00:22:52Mrs. Nicholson,
00:22:54the original of the photograph.
00:22:58Oh, I'm sorry.
00:23:00But I do see now
00:23:02why the sight of Mrs. Cayman
00:23:04at the inquest came as such a shock to you.
00:23:06I must be an absolute fool not to realise.
00:23:08I'm sorry. I'm afraid I don't understand.
00:23:10Oh, no.
00:23:12No, of course you don't.
00:23:16Look,
00:23:18I'm afraid I'm going to have to give you rather a shock.
00:23:20This friend of yours,
00:23:22Alan Carstairs, he's...
00:23:24Well, you've got to know, he's dead.
00:23:26Tell me.
00:23:28He fell over the cliff at Marchbolt,
00:23:30the place where I live.
00:23:32I and the doctor there happened to be the ones to find him.
00:23:34So that's why he never came back.
00:23:36He had your photograph in his pocket.
00:23:38Dear Alan.
00:23:42So...
00:23:44When I came face to face with you that night,
00:23:46you can imagine how I felt.
00:23:50You recognised me very quickly.
00:23:52I'd have recognised you anyway.
00:23:56When did all this happen?
00:23:58I think it was just after he came down here.
00:24:02Did he mention anything
00:24:04about going to Wales?
00:24:06You don't by any chance
00:24:08happen to know anyone called Evans, I suppose?
00:24:10Evans?
00:24:12No, I don't think so. Why?
00:24:14Just before your friend died,
00:24:16he regained consciousness and said...
00:24:18Why didn't they ask Evans?
00:24:20It's a very common name.
00:24:22And then these terrible people,
00:24:24the Caimans, turned up at the inquest
00:24:26and identified him as Mrs. Caiman's brother,
00:24:28Alex Pritchard.
00:24:30And your photograph had gone,
00:24:32and this Caiman woman's was in its place.
00:24:34Here in the East, we'll have the Comanches.
00:24:36It says on the box, I assume.
00:24:38Well, it's the principle that counts.
00:24:40Now, where's that canon?
00:24:42Do be careful, won't you?
00:24:44Mother says you must never point it at anyone.
00:24:46Even though it's only clockwork.
00:24:48Quite right.
00:24:50We'll put it here, I think,
00:24:52then we can really let them have it.
00:24:56You do it, old boy, will you?
00:24:58Just about there, I think.
00:25:10Tommy.
00:25:12Yes, Father?
00:25:14I must say,
00:25:16if ever I seem a bit, well, you know,
00:25:18short-tempered,
00:25:20doesn't mean anything, you know.
00:25:22Don't always feel very well.
00:25:24Nothing personal, you understand?
00:25:28I think so, Father.
00:25:32Henry, I need to talk to you.
00:25:34I was just watching for the post, my dear.
00:25:36He's not due for nearly an hour.
00:25:38Tommy,
00:25:40if you go down to the kitchen with Mary,
00:25:42come along, Master Tommy.
00:25:44What's the surprise, Mary?
00:25:52And we think that Roger Basington French
00:25:54pushes Pritchard,
00:25:56or Castor's, over the cliff.
00:25:58Roger?
00:26:00He was in the right place at the right time.
00:26:02And more important, he was the only one
00:26:04who could have removed the photograph.
00:26:06I'm sorry, but there's something I must ask you.
00:26:08Ask away.
00:26:10Well, I don't know how to put this without sounding...
00:26:14Well, did you really come down here by accident?
00:26:18Or did you come because you suspect my husband?
00:26:22I give you my word of honour.
00:26:24We'd never even heard of your husband till we arrived down here.
00:26:26Only, you see,
00:26:28I think my husband suspects you.
00:26:30What was that?
00:26:32Heavy-footed rabbit, probably.
00:26:34What does your husband suspect?
00:26:36Well,
00:26:38that your accident when you drove into the wall,
00:26:40that it wasn't really an accident at all.
00:26:42He's quite right.
00:26:44It wasn't.
00:26:46Wasn't?
00:26:48I drove into the wall on purpose,
00:26:50and Bobby came down and pretended to be my chauffeur.
00:26:52The whole thing was staged
00:26:54because Bobby wanted to,
00:26:56well, how does one put it,
00:26:58get a line on Roger Basington French.
00:27:00I'm sorry, but I think that's absurd.
00:27:02Roger's weak, wild, perhaps.
00:27:04But pushing someone over a cliff?
00:27:06I mean, why should he?
00:27:08He and Alan Carstairs had only met once at lunch at Merriway Court.
00:27:10There's no motive.
00:27:12I just don't believe it.
00:27:14And I don't believe it either.
00:27:18The fact remains
00:27:20he's the only one who could have taken your photograph.
00:27:22There's an easy way to settle it.
00:27:24Why don't you ask him?
00:27:26How on earth did you come to guess that?
00:27:28You did?
00:27:30Yes, I had to.
00:27:32But why?
00:27:34Well, now,
00:27:36here am I,
00:27:38mounted guard over a stranger's dead body.
00:27:40I see a photograph
00:27:42sticking out of his jacket pocket.
00:27:44I look at it.
00:27:46I can't believe it.
00:27:48It's the photograph of a woman I know.
00:27:50A married woman.
00:27:52And a woman I suspect
00:27:54is not too happily married.
00:27:56What's to be done?
00:27:58An inquest?
00:28:00Publicity?
00:28:02I acted on impulse.
00:28:04Took the photograph and tore it up.
00:28:06So that's it.
00:28:10If only you knew.
00:28:12Knew what?
00:28:14I can't tell you at the moment.
00:28:16But please trust me.
00:28:20I do see now
00:28:22why you took the photograph,
00:28:24but was there any objection to saying
00:28:26that you recognize the man?
00:28:28That you met him down here only the week before?
00:28:30My dear girl, are you quite mad?
00:28:32Alan Carstairs.
00:28:34You did meet Alan Carstairs?
00:28:36The man who came down with the Rivingtons.
00:28:38The dead man wasn't Alan Carstairs.
00:28:40Oh, but he was. You must have recognized him.
00:28:42No, I didn't see his face.
00:28:44He had a handkerchief spread over it.
00:28:48How beautifully and curious men are.
00:28:54I feel terribly sorry for her.
00:28:56For Maura Nicholson? Why?
00:28:58Being married to a man like that.
00:29:00Yes, I know what you mean.
00:29:02I don't much care for him myself.
00:29:04And yet you want Henry to go to his clinic.
00:29:06Well, that's different. That's professional.
00:29:08What's more, I think Sylvia's about ready to agree.
00:29:10I spoke to her this afternoon.
00:29:12Sit down, Roger.
00:29:14I've got to prove to you
00:29:16that Dr. Nicholson is a dangerous criminal.
00:29:18What?
00:29:20And that your brother is in mortal danger.
00:29:22Even if you're right,
00:29:24what does it prove?
00:29:26Mind you, if you could show
00:29:28that Nicholson had been in Marchbolt
00:29:30on the day of the Cliff tragedy,
00:29:32or if you could find any definite motive
00:29:34linking him with Alan Carstairs,
00:29:36it might be different.
00:29:38It seems to me you're ignoring the real suspects.
00:29:40Who?
00:29:42The people you say made the false identification
00:29:44in the first place, the Haymans.
00:29:46Caymans.
00:29:48Seems to me as if they're in it,
00:29:50up to their hilt.
00:29:52I mean, look at their insistence
00:29:54on knowing whether the poor fellow said anything
00:29:56before he died.
00:29:58They obviously thought that your friend Bobby Jones
00:30:00was in possession of some knowledge
00:30:02that was dangerous to them.
00:30:04So they tried to eliminate him.
00:30:06Bobby says it's absolutely grim.
00:30:10You don't think they'll try again
00:30:12if they get on his track?
00:30:14Then we must get on to theirs first.
00:30:16I can't think why we haven't done so before.
00:30:20Now you know
00:30:22what Moira thinks her husband is up to,
00:30:24do you still think
00:30:26your brother should go to the Grand?
00:30:28Oh, Roger, I've been looking for you everywhere.
00:30:30Oh, would you like me to...
00:30:32No, Frankie, don't go. There's no point, is there?
00:30:34You know all there is to know.
00:30:36I've been blind.
00:30:38Blind?
00:30:40You both saw what I never even suspected.
00:30:42Or was it simply that I closed my eyes to it
00:30:44because I didn't want to see?
00:30:46Couldn't see.
00:30:48All I knew was that Henry had changed so,
00:30:50but I never suspected the reason.
00:30:52But it's going to be all right, Roger.
00:30:54He's agreed. He'll go to the Grange
00:30:56and he'll put himself and Dr. Nicholson...
00:30:58No. There are other places, places not so near at hand.
00:31:00But half an hour ago you were all for Henry's going to the Grange.
00:31:02Why have you changed your mind?
00:31:04It's simply that I've been thinking it over
00:31:06and I think there are other places that might...
00:31:08Well, it's no good. I want Henry and Dr. Nicholson's care
00:31:10and no one else's.
00:31:12Just let me telephone him one more time.
00:31:14But I shan't change my mind, Roger.
00:31:18I don't know how to apologize.
00:31:20You must think of us.
00:31:22Sylvia.
00:31:24If I'm in any way an embarrassment, I'll go.
00:31:26Oh, no.
00:31:28Please stay.
00:31:30Poor Henry.
00:31:32He was so upset at my knowing.
00:31:34He cried.
00:31:36He promised he'd do anything he could
00:31:38for my sake and for Tommy's.
00:31:40I'm sure he will.
00:31:42Dr. Nicholson's warned me not to go on promises.
00:31:44I've said such dreadful things about that man,
00:31:46yet when it was necessary,
00:31:48he was the one person
00:31:50who told me the truth.
00:31:52We all change our minds
00:31:54from time to time.
00:31:58Look.
00:32:00I know I haven't paid last month's bill,
00:32:02but you can't run a second-hand car shop
00:32:04without spare parts.
00:32:08I'm not asking you to throw good money
00:32:10after bad.
00:32:12Just...
00:32:14But...
00:32:16Excuse me.
00:32:18Just think of it as an investment.
00:32:22Nicholson's out. I left a message.
00:32:24I still don't understand.
00:32:26You suggested this plan. It's all been arranged
00:32:28on Henry's consent.
00:32:30Sylvia, I am Henry's brother.
00:32:32What was that?
00:32:34Sounded like... Tommy!
00:32:36Tommy!
00:32:38Tommy!
00:32:40Henry! Henry!
00:32:42It's locked!
00:32:44It's here!
00:32:46It's all right.
00:32:48I'll just go and see him.
00:32:50Stand back. I'll have to break it.
00:33:12Oh, God!
00:33:16I feel this is the best way out.
00:33:20It's too late. Can't fight it now.
00:33:22I know.
00:33:24Want to do the best I can
00:33:26for Sylvia.
00:33:28Sylvia and Tommy.
00:33:30God bless you both,
00:33:32my dear.
00:33:34Forgive me.
00:33:36I think you'd better let me take over.
00:33:38Has something happened to Henry?
00:33:40Tell me what's happened!
00:33:42Everything's all right.
00:33:46Nothing to be done.
00:33:50Death must have been instantaneous.
00:33:52Poor fellow.
00:33:56Obviously felt he couldn't face the music.
00:34:00Drugs always end in tragedy.
00:34:04Always.
00:34:10I'll have to be an inquest, of course.
00:34:12I'll telephone the police.
00:34:18The key's not in the lock.
00:34:22Perhaps it's in his pocket.
00:34:40Operator.
00:34:42Operator!
00:34:46This is Dr. Nicholson of the Grange.
00:34:48Put me through to the police station at once.
00:34:52Is it gone well?
00:34:54There's been a fatality in Narroway Park.
00:34:56Get over here.
00:35:00I want to play now!
00:35:02I want to play now!
00:35:04I want to play now!
00:35:06I want to play now!
00:35:08I want to play now!
00:35:10I'd better call my chauffeur.
00:35:12The sooner I get...
00:35:14No, please. Don't do that, Lady Frances.
00:35:16Sylvia will need a friend with her tonight.
00:35:18Preferably a woman.
00:35:20If you think I can be of any help.
00:35:32374.
00:35:38This is Lady Frances Darwin.
00:35:40Could you bring my chauffeur to the phone, please?
00:35:48Something awful's happened.
00:35:50We must meet.
00:35:52Tomorrow.
00:35:54Same time, same place as today.
00:35:56Thank you. Are you all right?
00:35:58Oh, Lady Frances.
00:36:00Can you give me a hand to get Sylvia upstairs, please?
00:36:02Henry?
00:36:04Sylvia, please.
00:36:06Come on.
00:36:08Calm yourself.
00:36:10Come on.
00:36:36Poor old Henry.
00:36:40Poor old Frank.
00:36:42It sounds absolutely ghastly.
00:36:46It is quite certain he did commit suicide.
00:36:48It must have been suicide.
00:36:50We were all in the conservatory with Roger
00:36:52when we heard the shot.
00:36:54By the way, Nicholson seems to have appeared
00:36:56rather conveniently.
00:36:58He'd left his sphygmum or something
00:37:00or other behind earlier
00:37:02and we'd come back for it.
00:37:04Frankie.
00:37:06Sylvia.
00:37:08Frankie.
00:37:10Suppose, for a minute,
00:37:12Nicholson shot old Henry.
00:37:14Having first persuaded him to write a suicide note.
00:37:16That would be the easiest thing in the world,
00:37:18to fake.
00:37:20A fake that would convince the dead man's wife,
00:37:22his brother.
00:37:24Look, if you're in such a state
00:37:26that suicide seemed the only way out,
00:37:28how good,
00:37:30how typical would your handwriting be?
00:37:32Go on.
00:37:34Go on.
00:37:36Nicholson shoots Basant and French,
00:37:38leaves the farewell letter,
00:37:40nips out, locking the door,
00:37:42only to appear a few minutes later
00:37:44as though he'd just arrived.
00:37:48It's a good idea,
00:37:50but it won't work.
00:37:52To begin with, the key was in Henry's pocket.
00:37:54Who found it there?
00:37:56Nicholson did.
00:37:58There you are then.
00:38:00Where?
00:38:02I was watching him, remember?
00:38:04I'm sure the key was in his pocket.
00:38:08Sylvia saw him drive up
00:38:10when we ran round to the study windows.
00:38:12In fact, she brought him round.
00:38:14I hate to say it, but it has a perfect alibi.
00:38:18Three deaths.
00:38:20Three?
00:38:22Alan Carstairs,
00:38:24Henry Basant and French,
00:38:26and there, but for the grace of God, goes you.
00:38:28Who's next?
00:38:32I don't know.
00:38:34Good Lord, I'd forgotten all about her.
00:38:36So I'd noticed.
00:38:38We must persuade her to leave the Grange at once.
00:38:40We could send her down to Wales,
00:38:42take Father's mind off his beastly gout,
00:38:44and she'd be perfectly safe at the castle.
00:38:46If you can fix it, Frankie, nothing could be better.
00:38:50It's extraordinary how men like helpless women.
00:38:54Bring the car round, half past ten,
00:38:56and I'll rescue your precious Moira for you.
00:38:58It's grim.
00:39:00Absolutely grim.
00:39:02Starts off as some sort of adventure.
00:39:04Why didn't they ask Evans?
00:39:06Well, why didn't they?
00:39:08I'd have saved us an awful lot of bother.
00:39:12Poor little boy.
00:39:16I've an idea about Evans.
00:39:18I've a feeling that although he's been the starting point,
00:39:20he really doesn't matter at all.
00:39:22Sometimes I don't think there is a point.
00:39:24It's rather creepy, isn't it?
00:39:26I didn't wonder Moira gets the horrors here.
00:39:54Be careful.
00:39:56Don't do anything silly.
00:40:24I've called to see Mrs. Mickelson.
00:40:54Mrs. Mickelson.
00:41:06Lady Frances.
00:41:08Good morning, Dr. Mickelson.
00:41:10Oh, you don't come with bad news about Sylvia, I hope?
00:41:12No, no.
00:41:14She was still asleep when I left.
00:41:16Well, eventually she will have to face
00:41:18the brutal reality of her husband's death,
00:41:20but for the first few days
00:41:22she's been recovering from the shock,
00:41:24the sense of loss.
00:41:26I'll call round this afternoon, make sure she's all right.
00:41:28I'm sure you're very busy, Dr. Mickelson.
00:41:30I don't trouble you. I really came to see your wife.
00:41:34Moira?
00:41:36That's very kind of you.
00:41:38If she isn't up yet, I could sit and wait.
00:41:40Oh, she's up.
00:41:42Oh, good, good.
00:41:44I want to persuade her to come to me for a visit to Derwencastle.
00:41:46She's practically promised her.
00:41:48Really?
00:41:50I had no idea that you'd met my wife, Lady Frances.
00:41:54I met her yesterday
00:41:56when I was out walking
00:41:58and I recognized her at once
00:42:00from her photograph at Merroway.
00:42:02She said she'd never been to our part of Wales
00:42:04so I thought, well, there's no time like the present, don't you agree?
00:42:08I'm sure my wife would have enjoyed that very much indeed.
00:42:10Would have?
00:42:12Unfortunately, she went away this morning.
00:42:14Went away?
00:42:16Just for a little change.
00:42:18You don't know where she's gone?
00:42:20London, I imagine.
00:42:22You know, shops, theatres, you know, the sort of thing.
00:42:24Good, well, I'm on my way to London now.
00:42:26If you'll give me her address, I could call on her this afternoon.
00:42:28Well, she usually stays at the Savoy,
00:42:30but in any case,
00:42:32I shall be hearing from her in a day or so.
00:42:34I believe in perfect liberty
00:42:36between husband and wife.
00:42:38Yes, I think the Savoy
00:42:40will be the most likely place
00:42:42for you to find her.
00:42:44So very kind of you to think of asking my wife to stay, Lady Frances.
00:42:52Oh, I told them you'd come.
00:42:54I told them.
00:42:56You are going to take me away, aren't you?
00:42:58I do so want to come home.
00:43:00Leave me alone!
00:43:02Be a good girl.
00:43:04Be a good girl.
00:43:06We've written to your sister.
00:43:08We told you that yesterday.
00:43:10Don't you trust us?
00:43:12Nurse, would you show Lady Frances out, please?
00:43:14Come on.
00:43:16Let's go upstairs.
00:43:22Poor creature.
00:43:24What'll happen to her?
00:43:26The doctor will give her something to quieten her down.
00:43:28Morphia?
00:43:30Whatever he thinks is best.
00:43:40Drive round the corner.
00:43:42Up a track or something. We've got to talk.
00:43:46Brandy.
00:43:48Brandy.
00:43:50Frankie, are you all right?
00:43:52No, I'm not all right.
00:43:56Oh, I'm shaking.
00:43:58I'm actually shaking.
00:44:02Now I know how
00:44:04a mouse must feel
00:44:06when a cat won't quite kill it.
00:44:08I don't know.
00:44:14Gone away?
00:44:16When?
00:44:18This morning, he said.
00:44:20I don't believe it.
00:44:22Maury would never have left without letting us know.
00:44:24Where's she supposed to be?
00:44:26He says he doesn't know.
00:44:28She may be at the Savoy.
00:44:30On the other hand, she may not be.
00:44:32He believes in perfect liberty
00:44:34between husband and wife.
00:44:36I knew it.
00:44:38We should never have let her go back there yesterday.
00:44:42Bobby.
00:44:44You don't think she's...
00:44:48dead, do you?
00:45:06Come on.
00:45:36PHONE RINGS
00:45:48Hello?
00:45:50Bobby. Thank heavens.
00:45:52A friendly voice at last.
00:45:54Listen, I need your help.
00:45:56Meet me at that café.
00:45:58Fred's or whatever. It's called in three-quarters of an hour.
00:46:00Come on the motorbike and bring me some clothes.
00:46:02Oh, and Badger,
00:46:04bring me this revolver.
00:46:06A revol... a gun?
00:46:08Robert Jones, I don't like the sound of that at all.
00:46:10Oh, don't worry. I know what I'm doing.
00:46:12But you do see, don't you?
00:46:14If Moira's in that house, I've got to get her out.
00:46:16You will be careful.
00:46:18Yes. Yes, of course.
00:46:20I think Hawkins the chauffeur will have to disappear.
00:46:22I'll move over to the station hotel at Ambledover.
00:46:24It's only a few miles away from the Grange.
00:46:26But if you're not Hawkins, who are you,
00:46:28if I have to get hold of you?
00:46:30I quite like being Mr. Sprague.
00:46:32I'm going to do a little sleuthing of my own.
00:46:34Oh, frankly...
00:46:36Follow up Roger's hunch. The Caimans.
00:46:38The rotten old Caimans who we now know were not what they seemed.
00:46:40You still have their address.
00:46:42Yes, yes, of course, but I don't want you doing anything that might be dangerous.
00:46:44Look, if it'll make you feel any better,
00:46:46I'll get Dr. George R. Buthner to help me.
00:46:48It won't.
00:46:50Well, I suppose he's better than nothing.
00:46:52Anyway, if the Caimans are as guilty as you seem to think they are,
00:46:54I'll bet you anything the birds have flown.
00:47:02As the Caimans have obviously fled, can't we go to lunch?
00:47:04Don't give up so easily, George.
00:47:32Badger!
00:47:38I've wrapped your gun in your pyjamas.
00:47:40I don't want it now, you fool.
00:47:48I still wish you'd tell me where you've been
00:47:50and what's going on.
00:47:52If I could tell anyone, I'd tell you.
00:47:54Look, so far, if anyone's known anything,
00:47:56something's happened to them.
00:47:58And I don't want anything happening to you,
00:48:00or Frankie.
00:48:02That's why I made her come back to London
00:48:04and wanted you to meet me here instead of the garage.
00:48:06Why?
00:48:08In case it's being watched.
00:48:10How's trade?
00:48:14Could be worse.
00:48:16Oh.
00:48:18When I get this cleared up, if ever I do,
00:48:20we'll really get down to it, I promise.
00:48:26Shall I take your chauffeur's uniform?
00:48:28Oh, no. No, I'd better hang on to that.
00:48:30You never know.
00:48:32Well, I'd better get back to Stapley, I suppose.
00:48:36Oh, forget I said that, would you?
00:48:40Well, here we are.
00:48:48Well,
00:48:50that was a waste of time.
00:48:52All we've found is a railway timetable
00:48:54open on page 37.
00:48:56Chipperfield, Chipping Camden,
00:48:58Chipping Norton, Chipping Sodbury, Chipping Somerton,
00:49:00Chudley Knighton.
00:49:02Well, where are you going to start?
00:49:04John Savage.
00:49:06What?
00:49:08Never have I heard that name before.
00:49:12Oh, I know. Sylvia Basington French
00:49:14when she was talking about Alan Carstairs
00:49:16who'd been on safari with Savage.
00:49:18Well, what does it say?
00:49:20Sir Robert Portchester broke his leg yesterday
00:49:22when his yacht, the ill-starred Andorra,
00:49:24was leaving the harbour.
00:49:26Could there be a jinx on this unlucky boat?
00:49:28It will be remembered that its last owner,
00:49:30the millionaire John Savage,
00:49:32committed suicide on landing he had cantered.
00:49:34Well, where does that get us?
00:49:38Mrs Rivington
00:49:40told Bobby that Alan Carstairs
00:49:42was very upset about Savage's death.
00:49:44It could be.
00:49:46Could be what?
00:49:48It could be that we've been barking up the wrong tree.
00:49:50Supposing it was Savage's death
00:49:52that Alan Carstairs wanted to find out about
00:49:54and supposing he was on the track of something...
00:49:56All right, supposing.
00:49:58How do we find out?
00:50:00Why would anyone want to kill a millionaire?
00:50:02Money.
00:50:04Something in his will?
00:50:06Perhaps he left it all to Evans.
00:50:08You know, why didn't they ask Evans?
00:50:10Good heavens, I'd forgotten all about him.
00:50:12And you know, when I do think about him,
00:50:14I think he's a complete and utter red herring.
00:50:16Come on, finish your coffee. We're going to take proper counsel.
00:50:18Where are we going now?
00:50:20To see Mr Spratt.
00:50:22This is indeed a pleasure, Lady Frances.
00:50:24And how is Lord Marchington? Well, I trust?
00:50:26Suffering from gout and bad temper.
00:50:28In other words, much as usual.
00:50:30To what do we owe this totally delightful
00:50:32but unexpected visit?
00:50:34Blackmail?
00:50:36In discreet letters.
00:50:38I want to look at a will.
00:50:40I don't know where you go and what you do,
00:50:42but there is some way you can pay a shilling, isn't there?
00:50:44Well, some is at house.
00:50:46For Mr Savage.
00:50:48Mr John Savage.
00:50:50Well, now, that is extraordinary.
00:50:52I really don't know what to do.
00:50:54Perhaps if you could give me your reasons.
00:50:56Oh, no.
00:50:58No, I'm afraid I can't.
00:51:00Lady Frances, I really believe I ought to warn you.
00:51:02Warn me?
00:51:04There's something afoot.
00:51:06Either something is afoot, or we have to accept
00:51:08the most incredible coincidence.
00:51:10And as a legal man, I have difficulty with the coincidence.
00:51:12I have been impersonated, Lady Frances.
00:51:14What do you say to that?
00:51:16How did you find out?
00:51:18You know something of this business.
00:51:20Yes.
00:51:22I'm afraid I do.
00:51:24Oh, this is all my fault.
00:51:26It was just a joke.
00:51:28We used to be very good friends.
00:51:30We used to be very good friends.
00:51:32We used to be very good friends.
00:51:34We used to be very good friends.
00:51:36We used to be very good friends.
00:51:38We used to be very good friends.
00:51:40It was just a joke.
00:51:42We wanted something to do.
00:51:44We wanted something to do.
00:51:46And who had the idea of passing himself off as me?
00:51:48And who had the idea of passing himself off as me?
00:51:50Room number six, Mr. Sprague.
00:51:52Room number six, Mr. Sprague.
00:51:58Mr. Sprague, it wasn't just anyone passing themselves off as you.
00:52:00Mr. Sprague, it wasn't just anyone passing themselves off as you.
00:52:02Actually, it was the young Duke of...
00:52:04No.
00:52:06No, I mustn't mention any names.
00:52:08It just wouldn't be fair.
00:52:10Oh, you bright young people, what troubles you land yourselves in.
00:52:12High spirits can sometimes lead to complications
00:52:14High spirits can sometimes lead to complications
00:52:16that can be extremely difficult to settle out of court.
00:52:18that can be extremely difficult to settle out of court.
00:52:20I feel terribly ashamed.
00:52:22I suppose it was Mrs. Rivington who gave us away.
00:52:24I suppose it was Mrs. Rivington who gave us away.
00:52:26Oh, dear, what exactly did she tell you?
00:52:32Dear Mr. Sprague,
00:52:34It's really too stupid of me,
00:52:36but I've just remembered something that might have helped you
00:52:38the day you called on me.
00:52:40Alan Carstairs mentioned that he was going to a place
00:52:42called Chipping...
00:52:44Chipping-Somerton.
00:52:46I don't know if this will be of any help to you.
00:52:48I was so interested in what you told me about the Mal Travers case.
00:52:50I was so interested in what you told me about the Mal Travers case.
00:52:52Yours sincerely, Edith Rivington.
00:52:54Yours sincerely, Edith Rivington.
00:52:56You can see now why I took it
00:52:58that some extremely questionable business was afoot,
00:53:00whether connected with the Mal Travers case
00:53:02or with my client, Mr. Carstairs.
00:53:04Mr. Carstairs?
00:53:06Alan Carstairs?
00:53:08Was a client of yours?
00:53:10He consulted me, yes.
00:53:14Do you know the gentleman?
00:53:16He came to see you about Mr. Savage's will, didn't he?
00:53:18He came to see you about Mr. Savage's will, didn't he?
00:53:34I gave him my opinion that nothing could be done about the will
00:53:36unless Mr. Savage's relatives,
00:53:38neither close two second cousins living in Australia,
00:53:40were prepared to contest it.
00:53:42were prepared to contest it.
00:53:44But undue influence is incredibly difficult to prove.
00:53:46But undue influence is incredibly difficult to prove.
00:53:48Undue influence?
00:53:50Mr. Savage was a hard-headed businessman
00:53:52but he was clearly as wax in this woman's hand.
00:53:54but he was clearly as wax in this woman's hand.
00:53:56Oh, that woman.
00:53:58Alan got so... so heated about her
00:54:00I never fully understood what had gone on.
00:54:02Ocean trips are notoriously dangerous
00:54:04and middle-aged bachelors,
00:54:06pretty woman, husband prepared to say tactfully in the background,
00:54:08pretty woman, husband prepared to say tactfully in the background,
00:54:10fatal combination.
00:54:12And by all accounts this Mrs. Templeton
00:54:14was particularly good-looking.
00:54:16Certainly Mr. Savage found her so attractive
00:54:18that he accepted her invitation
00:54:20to go down and stay at her cottage at Chipping Somerton
00:54:22where there's no doubt he came more and more
00:54:24under her influence.
00:54:26And then came the tragedy.
00:54:28And then came the tragedy.
00:54:30And then came the tragedy.
00:54:32Mr. Savage feared that he may be suffering from...
00:54:34Mr. Savage feared that he may be suffering from...
00:54:36well...
00:54:38certain disease.
00:54:40Cancer.
00:54:42The subject became an obsession.
00:54:46The Templetons persuaded him to go up to London
00:54:48and consult a specialist.
00:54:50This he did.
00:54:52Here, Lady Frances,
00:54:54I preserve an open mind.
00:54:56But that specialist,
00:54:58a strange man,
00:55:00swore at the inquest that Mr. Savage
00:55:02was not suffering from cancer,
00:55:04that he told him so,
00:55:06but that he was so obsessed by his own belief
00:55:08that he refused to accept the truth of it.
00:55:10that he refused to accept the truth of it.
00:55:12So what do you think happened, Mr. Spratt?
00:55:14So what do you think happened, Mr. Spratt?
00:55:16Well, it seems likely that Mr. Savage
00:55:18may have thought the doctor's reassuring words were not true.
00:55:20But what is known is that he came back to Chipping Somerton
00:55:22in a state of great mental distress.
00:55:24He sent for a solicitor,
00:55:26a solicitor, a reputable local man,
00:55:28who there and then drew up a will
00:55:30which Mr. Savage signed
00:55:32and delivered over to the solicitor for safekeeping.
00:55:34and delivered over to the solicitor for safekeeping.
00:55:36Later that same evening,
00:55:38Mr. Savage took a large overdose of chloral,
00:55:40Mr. Savage took a large overdose of chloral,
00:55:42leaving a letter behind in which he explained
00:55:44that he preferred a quick, painless death
00:55:46to a long, painful one.
00:55:48to a long, painful one.
00:55:50The jury brought in their usual sympathetic verdict
00:55:52of suicide all of unsound mind.
00:55:54Poor man.
00:55:56That, Lady Frances, is one thing he was not.
00:55:58That, Lady Frances, is one thing he was not.
00:56:00By his will, he left a generous sum to various charities
00:56:02and the sum of 700,000 pounds
00:56:04free of legacy duty to Mrs. Templeton.
00:56:06free of legacy duty to Mrs. Templeton.
00:56:08700,000 pounds?
00:56:10700,000 pounds?
00:56:12That, if I may say so, was Mr. Caster's reaction.
00:56:14His contention was that the will
00:56:16was completely uncharacteristic of Mr. Savage,
00:56:18who had no liking for organized charities
00:56:20and strong views as to money
00:56:22passing through blood relationship.
00:56:24I had to tell him that possession was nine points of the law
00:56:26and Mrs. Templeton already had possession.
00:56:28And no one knows anything at all about her?
00:56:30Went to live in the south of France
00:56:32and refused to enter into any communication on the matter.
00:56:34and refused to enter into any communication on the matter.
00:56:36Well, with 700,000 pounds,
00:56:38who can blame her?
00:56:40Mr. Sprague, you've been wonderful.
00:56:42Simply wonderful.
00:56:44I feel too ashamed.
00:56:46You, bright young people,
00:56:48you should be more careful.
00:56:50You've been an angel.
00:56:54Young Duke?
00:56:56Miss...
00:56:58Miss Cooke?
00:57:00Bring me in Burke's peerage, will you?
00:57:04Going out this time of night, sir?
00:57:06A spot of fresh air on the bike before turning in, you know.
00:57:08Don't sleep too well.
00:57:10You look out for Pothole, sir.
00:57:12Young George Chapman came off his bike last week
00:57:14just outside the Green Grocers.
00:57:16Nasty mess.
00:57:18I'll be careful.
00:57:20Don't worry.
00:57:24Sylvia.
00:57:26Sylvia.
00:57:28Sylvia.
00:57:30Sylvia.
00:57:32Sylvia.
00:57:34Sylvia.
00:57:36Sylvia.
00:57:38Sylvia.
00:57:40Sylvia.
00:57:42Sylvia.
00:57:44Sylvia.
00:57:46Sylvia.
00:57:48Sylvia.
00:57:50Sylvia.
00:57:52Sylvia.
00:57:54Nightcap, George.
00:57:56No thanks. Early start tomorrow.
00:57:58Phew.
00:58:04Bad news?
00:58:06From Roger Basington, French.
00:58:08The inquest is the day after tomorrow.
00:58:10He wants me to go down.
00:58:28Good night.
00:58:30Good night.
00:58:58Good night.
00:59:28Good night.
00:59:30Good night.
00:59:56Sorry.
01:00:00Sorry.
01:00:02Sorry.
01:00:04Sorry.
01:00:06Sorry.
01:00:08Sorry.
01:00:10Sorry.
01:00:12Sorry.
01:00:14Sorry.
01:00:16Sorry.
01:00:18Sorry.
01:00:20Sorry.
01:00:22Sorry.
01:00:24Sorry.
01:00:26Sorry.
01:00:28Sorry.
01:00:30Sorry.
01:00:32Sorry.
01:00:34Sorry.
01:00:36Sorry.
01:00:38Sorry.
01:00:40Sorry.
01:00:42Sorry.
01:00:44Sorry.
01:00:46Sorry.
01:00:48Sorry.
01:00:50Sorry.
01:00:52Sorry.
01:00:54Sorry.
01:00:56Sorry.
01:00:58Sorry.
01:01:00Sorry.
01:01:02Sorry.
01:01:04Bond!
01:01:06Bond!
01:01:08Check the ground.
01:01:10We got notes to check the rooms.
01:01:26Nothing this way, only the limb and that old cedar tree down, gates been left open, nothing
01:01:53else.
01:01:55All clear this way.
01:01:56That's the trouble with working with loonies, you end up hearing things.
01:02:24That's the trouble with working with loonies.
01:02:54That's the trouble with working with loonies.
01:03:24That's the trouble with working with loonies.
01:03:25That's the trouble with working with loonies.
01:03:26That's the trouble with working with loonies.
01:03:27That's the trouble with working with loonies.
01:03:28That's the trouble with working with loonies.
01:03:29That's the trouble with working with loonies.
01:03:30That's the trouble with working with loonies.
01:03:31That's the trouble with working with loonies.
01:03:32That's the trouble with working with loonies.
01:03:33That's the trouble with working with loonies.
01:03:34That's the trouble with working with loonies.
01:03:35That's the trouble with working with loonies.
01:03:36That's the trouble with working with loonies.
01:03:37That's the trouble with working with loonies.
01:03:38That's the trouble with working with loonies.
01:03:39That's the trouble with working with loonies.
01:03:40That's the trouble with working with loonies.
01:03:41That's the trouble with working with loonies.
01:03:42That's the trouble with working with loonies.
01:03:43That's the trouble with working with loonies.
01:03:44That's the trouble with working with loonies.
01:03:45That's the trouble with working with loonies.
01:03:46That's the trouble with working with loonies.
01:03:47That's the trouble with working with loonies.
01:03:48That's the trouble with working with loonies.
01:03:49That's the trouble with working with loonies.
01:03:50That's the trouble with working with loonies.
01:03:51That's the trouble with working with loonies.
01:03:52That's the trouble with working with loonies.
01:03:53That's the trouble with working with loonies.
01:03:54That's the trouble with working with loonies.
01:03:55That's the trouble with working with loonies.
01:03:56That's the trouble with working with loonies.
01:03:57That's the trouble with working with loonies.
01:03:58That's the trouble with working with loonies.
01:03:59That's the trouble with working with loonies.
01:04:00That's the trouble with working with loonies.
01:04:01That's the trouble with working with loonies.
01:04:02That's the trouble with working with loonies.
01:04:03That's the trouble with working with loonies.
01:04:04That's the trouble with working with loonies.
01:04:05That's the trouble with working with loonies.
01:04:06That's the trouble with working with loonies.
01:04:07That's the trouble with working with loonies.
01:04:08That's the trouble with working with loonies.
01:04:09That's the trouble with working with loonies.
01:04:10That's the trouble with working with loonies.
01:04:11That's the trouble with working with loonies.
01:04:12That's the trouble with working with loonies.
01:04:13That's the trouble with working with loonies.
01:04:14That's the trouble with working with loonies.
01:04:15That's the trouble with working with loonies.
01:04:16That's the trouble with working with loonies.
01:04:17That's the trouble with working with loonies.
01:04:18That's the trouble with working with loonies.
01:04:19That's the trouble with working with loonies.
01:04:20That's the trouble with working with loonies.
01:04:21That's the trouble with working with loonies.
01:04:22That's the trouble with working with loonies.
01:04:23That's the trouble with working with loonies.
01:04:24That's the trouble with working with loonies.
01:04:25That's the trouble with working with loonies.
01:04:26That's the trouble with working with loonies.
01:04:27That's the trouble with working with loonies.
01:04:28That's the trouble with working with loonies.
01:04:29That's the trouble with working with loonies.
01:04:30That's the trouble with working with loonies.
01:04:31That's the trouble with working with loonies.