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deaddogsdam
  • 5 days ago
First broadcast 26th December 2011.

Sheila Webb, a girl working for a secretarial service, is summoned to the house of a customer. There she finds the dead body of a man and four clocks all set to the wrong time.

David Suchet as Hercule Poirot
Olivia Grant as Annabel Larkin
Anna Skellern as Fiona Hanbury
Tom Burke as Lt. Colin Race
Andrew Havill as actor playing Sven Hjerson
Victoria Wicks as Mrs Swinburne
Jaime Winstone as Sheila Webb
Sinead Keenan as Nora Brent
Lesley Sharp as Miss Martindale
Anna Massey as Miss Pebmarsh
Phil Daniels as Inspector Hardcastle
Ben Righton as Constable Jenkins
Beatie Edney as Mrs Hemmings
Abigail Thaw as Rachel Waterhouse
Guy Henry as Matthew Waterhouse
Geoffrey Palmer as Vice Admiral Hamling
Phoebe Strickland as May
Isabella Parriss as Jenny
Tessa Peake-Jones as Val Bland
Jason Watkins as Joe Bland
Stephen Boxer as Christopher Mabbutt
Andrew Forbes as Professor Purdy
Frances Barber as Merlina Rival
Greg Bennett as Plain Clothed Detective

Category

📺
TV
Transcript
00:00:00I never thought I'd meet a dream
00:00:17And she'd kiss me goodnight
00:00:22Good night, Annie. Good night, Phee.
00:00:37Oh, Annie, will you be going down the Bluebell tonight?
00:00:39No, not tonight. I'm tired.
00:00:42Early night. I wish it was early.
00:00:46See you tomorrow.
00:00:52Well, tonight's my lucky night, gentlemen.
00:01:04I'd like to thank you all for turning up
00:01:06with your pockets full of donations.
00:01:10What I can assure you'll be very well-caused.
00:01:22I will raise you. Let me see.
00:01:45What kind of folks do you think you've got?
00:01:48What kind of daddy will play or dance?
00:01:51Lieutenant Rice.
00:01:52Excuse me, chaps.
00:01:58Rice.
00:01:59You must come now.
00:02:00Fiona, darling, I can't.
00:02:02I need 21 minutes, sweetie. It's a good night.
00:02:05It's her, Colin. She's taking something from the...
00:02:0720 minutes, and then you got me for a lifetime.
00:02:09You won't be able to get rid of me.
00:02:10She's rolling in happening.
00:02:11Fiona, listen.
00:02:1220 minutes, and then we can celebrate.
00:02:14We'll just wait.
00:02:16Right, where were we?
00:02:22Good night.
00:02:37Good night, Mom.
00:02:38Good night.
00:02:55Good night.
00:02:59I don't know.
00:03:29I saw you take the plane on the back.
00:03:47Get away!
00:03:48Stop!
00:03:50Please!
00:03:51Stop!
00:03:52Stop!
00:03:53And so, madam, may I ask you a question?
00:04:12You may, but I might not answer.
00:04:16My mother told me it was rude to answer a question before six o'clock in the evening.
00:04:21Especially from Swedish gentlemen, Herr Jensen.
00:04:24But I am Finnish.
00:04:26I wish you would Finnish.
00:04:28I'd like to go and get myself a drink.
00:04:31Do not think that the murder of your husband, the scarlet lipstick on his collar, the Bible
00:04:39on his desk, opened at the page of the Good Samaritan.
00:04:43The word revenge, written in his blood on the blot, is littered with what we call in Finnish
00:04:52tuna, silly, red herrings, madam.
00:04:58Edward Herring!
00:04:59I didn't think fiction was your thing, Barra.
00:05:11Oh, for a moment, dear.
00:05:12It is my friend Colin.
00:05:13But it has been so long.
00:05:14Good evening, sir.
00:05:15How does your father, my good friend Colin, always?
00:05:18The old man's fine.
00:05:20He's enjoying his retirement.
00:05:21Another whiskey for my young friend, Silvoplin.
00:05:23Ladies and gentlemen, please take your seats.
00:05:24I need your help, sir.
00:05:25But of course.
00:05:26I realise that this meeting is not a coincidence.
00:05:27I realise that this meeting is not a coincidence.
00:05:28I don't think fiction was your thing.
00:05:29I don't think fiction was your thing, Barra.
00:05:30Oh, for a moment, dear.
00:05:31It is my friend Colin.
00:05:32But it has been so long.
00:05:33Good evening, sir.
00:05:34How does your father, my good friend Colin, always?
00:05:35The old man's fine.
00:05:36He's enjoying his retirement.
00:05:37Another whiskey for my young friend Silvoplin.
00:05:41Ladies and gentlemen, please take your seats.
00:05:46I need your help, sir.
00:05:47But of course.
00:05:48I realise that this meeting is not a coincidence.
00:05:52I imagine that you sought me at my apartment,
00:05:54and Georges Montvalet told you where I could be found.
00:05:58But if I may, you have the appearance of such a one
00:06:02who has travelled this evening a great distance.
00:06:04Dover.
00:06:07Can we talk after the final act?
00:06:09I don't want to ruin your enjoyment of the play.
00:06:11Oh, no, no, no.
00:06:12For Poirot the play, it is over.
00:06:13With my dear friend, Madame Oliver.
00:06:15It's a puzzle.
00:06:16It is not so intricate.
00:06:17No, no.
00:06:18She is not in the same class as, for example,
00:06:21Monsieur Gary Gregson.
00:06:22You are acquainted with his books?
00:06:23Of course.
00:06:24Hello.
00:06:25Let us find someone here to sit,
00:06:26and you will permit me to help you, mon ami?
00:06:31There's a girl in Dover.
00:06:32Uh-huh.
00:06:33She works in one of those secretarial bureaus,
00:06:36you know, a typist place you ring in
00:06:38and you hire a typist for an hour or whatever you want.
00:06:41And how does she call herself?
00:06:46Sheila Webb.
00:06:47Are you all right?
00:06:48Oh, yes, ma'am.
00:06:49Poirot, he listens.
00:06:51Anyway, yesterday, a very strange thing happened to Sheila Webb.
00:06:56Four and six.
00:06:57I only got them yesterday from Jolly's,
00:06:58and the heel snaps off like a twig in a storm.
00:06:59Here, Sheila, have a look at this.
00:07:00Four and six from Jolly's.
00:07:01I strut off to lunch,
00:07:02and the heel snaps in a grate like a twig in a storm.
00:07:03Aren't you supposed to be typing out Mr. Levine's manuscript, Nora?
00:07:04Naked Love.
00:07:05Naked Love, yes, Miss Martindale.
00:07:06Then put your shoes away and get on with Naked Love.
00:07:07Miss Webb, may I have a word?
00:07:08Desire had him in its grasp.
00:07:09With frenzied fingers, he tore the fragile chiffon from her breasts
00:07:11and bent her over the soap.
00:07:12Huh?
00:07:13Huh?
00:07:14Huh?
00:07:15Huh?
00:07:16Huh?
00:07:17Huh?
00:07:18Huh?
00:07:19Huh?
00:07:20Huh?
00:07:21Huh?
00:07:22Huh?
00:07:23Huh?
00:07:24Huh?
00:07:25Huh?
00:07:26Huh?
00:07:27Huh?
00:07:28Huh?
00:07:29Huh?
00:07:31Huh?
00:07:32Huh?
00:07:33Huh?
00:07:34I've had a call from a Miss Pebmar.
00:07:36She wants a stenographer for three o'clock.
00:07:38She asked for you particularly.
00:07:39Have you worked for her before?
00:07:41I can't remember doing so, Miss Martindale.
00:07:4419 Wilbraham Crescent.
00:07:47I can't remember going there.
00:07:48Well, it's you she asked for.
00:07:50For three.
00:07:51Have you any other appointments?
00:07:54Oh, yes.
00:07:56Professor Purdy at five at the Castle Hotel.
00:07:59Cavendish Secretarial Services.
00:08:00One moment, please.
00:08:01Sheila, Miss Pebmarsh said if she's not there, the door's not latched.
00:08:02You ought to let yourself in and wait.
00:08:03Good afternoon.
00:08:04How may I help you?
00:08:05So Sheila goes.
00:08:06And she really doesn't recognize the place.
00:08:07Wilbraham Crescent is one of those quiet streets away from the seafront where everyone keeps themselves to themselves.
00:08:12Hello.
00:08:13Who's Pebmarsh?
00:08:14Who's Pebmarsh?
00:08:15Hello.
00:08:16Hello.
00:08:17Miss Pebmarsh.
00:08:18Hi, Miss Pebmarsh.
00:08:19Hi, Miss.
00:08:20Hi.
00:08:21Hi.
00:08:22Hello.
00:08:24Hi, Miss Pebmarsh.
00:08:26Hi, Miss Pebmarsh.
00:08:27Hi.
00:08:28We're both good.
00:08:31Hi.
00:08:32We're both good.
00:08:33Good afternoon.
00:08:34Thanks.
00:08:36Yes.
00:08:37Hi.
00:08:38Hi.
00:08:40Hi.
00:08:41Miss Pebmarsh?
00:08:50Sheila Webb here from Cavendish.
00:08:57Miss Pebmarsh, if it's all right, I'm going to sit in the front room.
00:09:11No.
00:09:18No.
00:09:35No, no!
00:09:38Is somebody here?
00:10:06Is somebody in my house?
00:10:08There's somebody in this room.
00:10:15Who are you?
00:10:17Don't step on him, he's dead.
00:10:18You're going to step on him.
00:10:21Who are you?
00:10:28Please help me.
00:10:29What is it?
00:10:30He's in there.
00:10:31He's dead.
00:10:32He's dead and he's just lying there dead, stabbed on the floor.
00:10:35Who's been stabbed?
00:10:36Calm down.
00:10:36Get in there!
00:10:37Someone's dead in there.
00:10:39I will help you.
00:10:40I will help you.
00:10:42You're saying there's a dead man lying in number 19?
00:10:46Yes.
00:10:46All right.
00:10:47Well, let's go in.
00:10:49No, no, no, no.
00:10:50Then let me go in and then I'll call the police.
00:10:52She's in there too.
00:10:54Who?
00:10:55Miss Pemarsch.
00:10:55Right, well, sit down and breathe.
00:11:00Stay, I will help you.
00:11:02Yes.
00:11:15Miss Pemarsch?
00:11:16Who are you?
00:11:19I'm Lieutenant Race.
00:11:20I was passing by.
00:11:22There's a dead man behind my sofa.
00:11:30How did this happen?
00:11:31I don't know.
00:11:32Who is he?
00:11:34I don't know.
00:11:35I live alone.
00:11:36I came home from work.
00:11:37There was an hysteric in the house.
00:11:38She left screaming and I find a dead man behind the sofa.
00:11:43You're very calm.
00:11:45When you saw what I saw in the great war, Lieutenant Race, you know a dead man is not something to be scared of.
00:11:52If you will invite the young hysteric in, I'll make her a cup of sweet tea.
00:11:57I'll call the police.
00:11:58Very good.
00:12:00Who was this dead man?
00:12:02Well, it's much stranger than that, Poirot.
00:12:07Was he known to Mme Sheila Webb?
00:12:09Apparently not.
00:12:10No, I've never seen him before, Inspector.
00:12:13And you're positive about that?
00:12:15Miss Martindale said to come here for three o'clock and let myself in.
00:12:19And then I noticed the clocks and I thought I might have got the wrong time.
00:12:22And then, just before Miss Pettmarsh arrived, I noticed the man lying there.
00:12:27Have you worked for Miss Pettmarsh before?
00:12:28No.
00:12:30And that's the thing, sir.
00:12:32She asked for me specially.
00:12:33I don't know how she knew me.
00:12:34Sir, we can't find the murder weapon.
00:12:37There's no knife.
00:12:38He's a Mr. R.H. Curry, Metropolitan and Provincial Insurance.
00:12:42I don't know him.
00:12:48Stay here.
00:12:56I've never heard the name Curry or the name of his firm.
00:13:01Were you expecting any visitor today?
00:13:04No.
00:13:04And I've never seen this man before.
00:13:06Take him away.
00:13:07Just the typist you ordered.
00:13:11I didn't order a typist.
00:13:13What are you talking about?
00:13:14You didn't ring up the Cavendish Bureau at lunchtime today and ask for the services of Sheila Webb.
00:13:19Certainly not.
00:13:20And I've never heard of a Sheila Webb.
00:13:21Where were you at lunchtime?
00:13:25I work part-time at Mr. Wright's photography studio on the parade.
00:13:29Taking bookings, seeing people in.
00:13:31Lunchtime can be quite busy.
00:13:33And you didn't call the Cavendish Bureau?
00:13:36No, young man, I did not.
00:13:38I did my shift and returned home as usual just after three.
00:13:40I know I wasn't late because I heard my cuckoo clock as I approached the door.
00:13:45What about your other clocks?
00:13:47Why were they all set to 13 minutes past four?
00:13:49What other clocks?
00:13:51Your four other clocks in the sitting room.
00:13:53There are no four other clocks in the sitting room.
00:13:57Just my cuckoo clock.
00:14:00My mam's at Pepmarsh.
00:14:02Does she always keep unlocked her door?
00:14:04You're thinking, I imagine, of her neighbours?
00:14:06Wait.
00:14:07They saw nothing.
00:14:09On one side, there's a cat lady who literally could speak of nothing else.
00:14:13Tiddly Pops likes chicken.
00:14:15And Copenhagen loves his kidneys.
00:14:17Don't you, Copey?
00:14:18On the other side, a brother and sister, academics.
00:14:21They saw nothing at all during lunchtime.
00:14:24At the back of the house, there's no access at all.
00:14:27And when was her nothing there?
00:14:29Wasn't Miss Pepmarsh who ran me?
00:14:31Did you take the call yourself?
00:14:32Yes.
00:14:33At about a quarter to two, and I put her in the book.
00:14:36And these clocks, definitely, they do not belong to Mademoiselle Pepmarsh.
00:14:40That's what she says.
00:14:43Eh bien, it is a puzzle.
00:14:45But there is something else that puzzles Poirot.
00:14:49You.
00:14:50Why was Colin Race in Wilburham Crescent at three o'clock yesterday afternoon?
00:14:55And why do the police permit that you should ask questions during the interviews?
00:14:58And why is it that your eyes are inflamed with crying, my dear friend?
00:15:04I have a commission in the Navy, but I'm MI6.
00:15:16Under Dover Castle, ever since the Napoleonic Wars, there's been a series of tunnels.
00:15:20That were in the process of turning them into a bomb-proof HQ where the Navy could police the channel from, were things to come to a second war with Germany.
00:15:29I've been trying to locate a German mole amongst the staff, and three nights ago I found her.
00:15:37Annabelle Larkin.
00:15:38She was followed, and she was killed, along with the woman I loved, Fiona Hanbury.
00:15:45Who died because I wasn't there.
00:16:01Amongst Vienna's things I found this.
00:16:06A crescent.
00:16:09The letter M, 61.
00:16:11I think it's a note as to where Fiona followed Larkin, where the contact was.
00:16:17I checked out the Crescent pub and the half-dozen Crescent roads in Dover.
00:16:21Yeah, then, well, you were checking out Wilburham Crescent at the very instant that Sheila Webb, she runs out of November 19th?
00:16:28Yes.
00:16:28I was checking again.
00:16:30It was closest to the scene of the accident.
00:16:33And I may sound crazy, but I don't believe it was a coincidence.
00:16:36I believe the man dead in Wilburham Crescent must be connected in some way to Annabelle Larkin.
00:16:43I see.
00:16:43And I don't believe what the police are thinking.
00:16:45That Sheila Webb is a murderer.
00:16:47I see.
00:16:47She's the main suspect.
00:16:49She was the one that found the body.
00:16:50She's the one they can place alone in the house.
00:16:54But I saw how scared she was when she ran out.
00:16:57Help!
00:16:57It is happening!
00:16:58I know, she's not a murderer.
00:17:00I will.
00:17:01I will help you.
00:17:02And I will not let another girl down, because I was unable to help.
00:17:28Good morning, gentlemen.
00:17:29Well, it seems this is a time for cooperation between the Navy and the police.
00:17:36Don't you agree?
00:17:37We want to flush out what remains of this German cell in Dover.
00:17:41Intelligence tells me it could well be connected with the murder of this insurance agent in,
00:17:45what was it, Wilburham Crescent?
00:17:47That hasn't been verified yet, Admiral.
00:17:50It's not Wilburham Crescent?
00:17:52No, that he was an insurance agent.
00:17:54Inspector, may I introduce you to Hercule Poirot, who Lieutenant Race has requested be brought in to help this investigation.
00:18:03But I think we can...
00:18:04I've verified this with Whitehall and Scotland Yard, and they tell me he's a private detective of excellent reputation and that we're lucky to have him on board.
00:18:12If that's what I have to work with, that's what I work with.
00:18:15Any ideas, Mr. Poirot? Just pop them in the pot.
00:18:19Merci.
00:18:20It seems that if we solve one of our problems here, we'll solve the other.
00:18:25Monsieur, may I have a word?
00:18:26Admiral.
00:18:27Inspector.
00:18:28I remember your days from the Belgian police force, Monsieur. Or at least, your reputation.
00:18:39When did you leave?
00:18:40After the Great War.
00:18:43Yes.
00:18:44Do you know what they call this stretch of the channel during the war?
00:18:48Hellfire Corner.
00:18:49And it will be again, because there will be a second war, Poirot.
00:18:52And if Germany invades, this is where they'll come.
00:18:58What was stolen the other night were the plans of our minefields between here and France.
00:19:02It is essential that those plans are recovered before they leave these shores, Monsieur.
00:19:07If Hitler sees them, then the front door of England will be wide open.
00:19:15You'll find us very organised here, Mr. Poirot, very thorough.
00:19:18Only last year we dealt with the suspicious death of a taxi driver.
00:19:22And Scotland Yard made the point of admiring our attention to detail.
00:19:28Evidence, as you see, is documented in a system of my own devising.
00:19:32The prime suspect has her own board, as does the victim, where we would build up detailed profiles.
00:19:38But for me, the key is this diagram here.
00:19:41And the key phrase for my investigation is, someone will have seen something.
00:19:46As you can see, from the unusual design of the street, it is actually a crescent that doubles back on itself, Mr. Poirot.
00:19:57All of them knew Miss Pebmarche had a set routine, and the house would be empty in the middle of the day.
00:20:04And who lives opposite, Mlle Pebmarche, number 61?
00:20:07Mr. and Mrs. Bland.
00:20:08Monsieur Bland?
00:20:10Already that arouses my suspicion.
00:20:12Oh, no, no, no. He's a good man. Built my mother-in-law a fireplace, actually.
00:20:16I had London run and check on him straight away, sir. He's as clean as a whistle.
00:20:20And the murder weapon, it has been recovered?
00:20:22Um, no, no.
00:20:24And there was no sign of a struggle in the house of Mlle Pebmarche?
00:20:27Absolutely not.
00:20:29Then I would like to interview the neighbours today, if I may.
00:20:31Already done. There are statements.
00:20:33No. Poirot would like to ask questions of his own.
00:20:36Yes. Already done it.
00:20:37No.
00:20:37I would like to ask questions of my own, Inspector Hardcastle.
00:20:42Of course you would. Of course.
00:20:45These are the clocks?
00:20:46Yeah, and we're on the sniff to find out where and when they were purchased.
00:20:50Um, Dresden China clock.
00:20:54French thing.
00:20:55Yeah, ormode.
00:20:56And, uh, the silver carriage.
00:20:59Where is the fourth clock?
00:21:01There were only three clocks, sir.
00:21:03Unless you count the cookie clock.
00:21:05No, no, no. I do not count the cookie.
00:21:07There was a fourth clock, a travelling clock, and on it the name Rosemary.
00:21:10That's right.
00:21:11Don't tell me we've lost a clock, for goodness sake.
00:21:14When I boxed the evidence, sir, there were definitely only three clocks in that room.
00:21:24Well, of course I remember the Rosemary clock.
00:21:27Have the police lost it?
00:21:28Perhaps.
00:21:29Perhaps it is stolen.
00:21:32Why?
00:21:32I do not know, mademoiselle.
00:21:34I cannot think it would be of any value.
00:21:37No, it was a shabby thing.
00:21:40Bjormalu was pretty, though.
00:21:42May we?
00:21:46No, no, no.
00:21:49All of them both, sir.
00:21:54Mademoiselle, the lieutenant race has told me that these last few days have been for you quite an ordeal.
00:21:59Yes.
00:22:02It's not the shock I've seen a dead man.
00:22:04That passes.
00:22:05It's the terrible suspicion the police have of me now.
00:22:07Did you see that board he had up for it?
00:22:09He had nothing on it.
00:22:10No evidence.
00:22:11Nothing.
00:22:12Have you told to the police the truth in everything, mademoiselle?
00:22:14Of course, sir.
00:22:16Then you have no need to worry.
00:22:17I need to get back to work.
00:22:24And so should we.
00:22:25Will you be all right getting that, Miss Bob?
00:22:27Yes, I'll be fine.
00:22:29Mademoiselle, do you know what means the name Rosemary?
00:22:34No.
00:22:34It means remembrance.
00:22:37Oh, remembrance.
00:22:40Goodbye.
00:22:42Au revoir.
00:22:42I saw and heard nothing on the day of the murder until I heard the girl scream.
00:23:06Tiddlypops was having one of his turns, you see, and I was singing to him to calm him down.
00:23:13You seem a bit agitated yourself, monsieur.
00:23:16Shall I sing to you?
00:23:18Oh, no, no, no.
00:23:19Merci, madame.
00:23:21Tell to me, if you please, do you have much contact with Mademoiselle Pepmage?
00:23:24Oh, no, no.
00:23:26She keeps herself to herself and does terribly well for a blindie.
00:23:29I see her pass by the window to and from the photographic studio, regular as clockwork.
00:23:34I think if she were a cat, she'd be one of T.S. Elliot's practical cats, don't you?
00:23:41All right.
00:23:45Madame, do you think I might possibly see your garden and so remove myself from here?
00:23:50Oh, yes, yes.
00:23:51Have you realised that if you write T.S. Elliot backwards, it spells toilets?
00:24:01Well, almost.
00:24:04Copenhagen pointed that out to me, didn't you, Copey?
00:24:07The bane of our neighbourhood are the Mabbots, number 62.
00:24:12He has girls with catapults.
00:24:14In fact, I heard Miss Pepmage have hard words with Mr. Mabbot
00:24:18just the other evening about their behaviour.
00:24:22May I ask, was there any connection between the murdered man and Miss Pepmage, Lieutenant?
00:24:28I believe not.
00:24:29Oh.
00:24:31That's unusual, too.
00:24:33So he just came there to be killed, did he?
00:24:39Miss Pepmage is as quiet as a church mouse, isn't she, Matthew?
00:24:42Yes.
00:24:43We hear neither hide nor hair.
00:24:45We told the other inspector this.
00:24:46I don't know why we're being asked again.
00:24:48She would have left her house at 11 on the day of the murder and got back at 3.
00:24:52Yes, well, that's her routine.
00:24:54I'm sure everyone knows that.
00:24:55Yeah, and it is during that time that Mr. Currie would have entered the house and met his death.
00:25:00Tell to me, if you please, before the girl screamed,
00:25:04did you hear perhaps any sound of a struggle?
00:25:06We don't know this man.
00:25:08And our studies are at the back of the house, Lieutenant.
00:25:11We're academics, you see.
00:25:12And neither my brother nor I heard anything at all during luncheon.
00:25:15We like this street because it's quiet also.
00:25:18Yes.
00:25:19The only trouble we've had is that Mrs. Hemmings.
00:25:22The cat lady.
00:25:24She might play the scatty old deer, Lieutenant, but scratch the surface and she's a poisonous old bitch.
00:25:31Believe me.
00:25:32Rachel, we must get back to work.
00:25:34Yes.
00:25:36Good day, gentlemen.
00:25:37Good day, my mum.
00:25:39Good day.
00:25:39Good day.
00:26:09His clothes?
00:26:10Our wallet?
00:26:11All the labels were cut out.
00:26:12We have no idea at all who he is.
00:26:14This is most extraordinary.
00:26:16Can I tag along with you for a while?
00:26:18Someone will have seen something.
00:26:20Remember?
00:26:21Yes, of course.
00:26:23But, Ilya, now we go on our ear to the rear to a monsieur and madame Bland.
00:26:28I don't recognise him, no, do you, Joe?
00:26:36No, I wish I did.
00:26:38And we've never had anything to do with the blind lady.
00:26:41You read about these murders, don't you?
00:26:43Jack the Ripper, brides in the bath, Smith,
00:26:46and you think, if only I'd been there, seen something,
00:26:49stopped it in some way, or if I couldn't stop it,
00:26:52at least been useful to the police afterwards.
00:26:54And now there's one in our neighbourhood
00:26:56and we just didn't look out the window at the right time, did we, Valerie?
00:26:59Well, you'll often find there's an element of luck in police work,
00:27:02witnesses looking out of windows at the right time and...
00:27:05Oh, that's it. It's luck.
00:27:08It's like falling in love.
00:27:11It's just lucky that you were there on that night and she was there
00:27:15and it was luck that brought you together.
00:27:18And where is it that you met your husband, Madame Bland?
00:27:21Well, she was an actress, weren't you?
00:27:22I was quite low at the time.
00:27:25And it just so happened that Valerie was playing the Mikado in Dover, weren't you?
00:27:30And we'd always go to the same pub after the show.
00:27:32I went there just to get out of the house and, well, luck struck.
00:27:38So you follow me, though?
00:27:40This is all very lovely, but if we can get back to the investigation.
00:27:44Why weren't you working on the day of the murder?
00:27:46Oh, well, I'm almost retired now, Hardcastle.
00:27:51I've still got the van just to keep my hand in.
00:27:53But Valerie inherited, er, well...
00:27:56A little bit of cash.
00:27:58Well, a lot, actually.
00:28:00From her Canadian family.
00:28:02No, but, pardon, you are from Canada, Madame?
00:28:04Well, I haven't lived there for... what is it?
00:28:07Oh, well, it must be nearly 20 years.
00:28:09Was it 20?
00:28:09Yes, and she lost her accent when she went to drama school.
00:28:13With the money, I don't have to work.
00:28:17That's a bit of luck.
00:28:18Luck again.
00:28:19It's everywhere.
00:28:21Luck struck.
00:28:22Yes, luck struck, you see.
00:28:26Although it didn't strike for this poor fellow.
00:28:30It's a pity the Bland's weren't murdered, don't you think?
00:28:33Or the entire neighbourhood.
00:28:34That catwoman struggles for a reason to exist, if you ask me.
00:28:38Peb Marsh lives in a netherworld, all of her own.
00:28:42And those waterhouses, a bit too quiet.
00:28:45A bit too hush-hush, if you know what I mean.
00:28:48No, I don't know the deceased.
00:28:50Sorry.
00:28:51I do not know what you mean, Monsieur Marber.
00:28:54I don't trust people who read or write books, Monsieur Poirot.
00:28:57Never have.
00:28:58Folks like that got the world into the mess it's in.
00:29:00Were you here at lunchtime on the day of the murder?
00:29:03I was, which is unusual.
00:29:05I'm often away in the week and leave everything to the nanny.
00:29:09My wife has passed on.
00:29:11I work for Armstrong Ordnance.
00:29:13We have contracts with the French, so I spend most weeks over there.
00:29:16Your country's as badly prepared for war as ours is, Poirot.
00:29:20I'm Belgian, not French.
00:29:22Are you now?
00:29:23Oui.
00:29:23A walloon.
00:29:24Well, Belgium won't last a week if it all goes belly up, will it?
00:29:29Have you been visited by anyone selling insurance in the last week?
00:29:32I told your constable all this, no.
00:29:35And I didn't hear sounds of a struggle or some such, either.
00:29:39Can I show you some pictures of some clocks?
00:29:41I've left them inside.
00:29:42Will you accompany me?
00:29:43What do I have to look at clocks for?
00:29:46To see if you recognise them, sir.
00:29:48They're central to the murder.
00:29:50Very well.
00:29:51I must.
00:29:51I would get your contacts to investigate that man, Mon Ami.
00:30:00I'm on it, yes.
00:30:01Regular trips to the continent.
00:30:03It's normally exactly what we'd look for.
00:30:05He's helping on the French.
00:30:06He's hardly pro-German.
00:30:07Put the letter M on the note of Mademoiselle Fiona.
00:30:09He could be Mabba.
00:30:11Mabba lives in number 62, Poirot, not 61.
00:30:16That is true.
00:30:17I'll check on the Bland's finances as well.
00:30:19Make sure they've got that windfall the way they say they did
00:30:21and it's not being channelled from some continental bank.
00:30:24Oh.
00:30:24Is that the garden of Mademoiselle Pettmarsh?
00:30:42Are you trying to work out he killed that man?
00:30:44Wait.
00:30:44Were you playing here on the day that he died, Mademoiselle?
00:30:48Our nanny grandless for two days.
00:30:50We kept hitting the cats.
00:30:52So she kept us in.
00:30:53We missed all the fun.
00:30:54Alors, you call yourself Mademoiselle Jenny?
00:30:57And how do you call yourself, Mademoiselle?
00:31:00May.
00:31:01And how do you call yourself?
00:31:03Hercule Poirot.
00:31:04That's not a name.
00:31:05It's a noise.
00:31:08No.
00:31:09Alors, Mademoiselle Jenny and Mademoiselle May,
00:31:13will you help Poirot?
00:31:19Merci.
00:31:20I've been through this with the police already, Monsieur Poirot.
00:31:31Oui, Mademoiselle.
00:31:32And I did not make that call requesting the services of Sheila Webb.
00:31:37Have you ever used a secretary from the Cavendish Bureau?
00:31:39I may have lost my sight in the last 15 years, Monsieur,
00:31:42but I have not lost my self-sufficiency.
00:31:45Have you ever had any dealings with the Bureau?
00:31:47Well, I know where it is on the parade.
00:31:49I pass it every day.
00:31:51And some of the secretaries may have been in for portraits with their sweethearts.
00:31:56But apart from that...
00:31:57Your Monsieur Wright is an artist most fine.
00:32:00I believe he is.
00:32:02Yes.
00:32:04One of the clocks found in your house has gone missing, Miss Pebmarsh.
00:32:07A small travelling clock with the word Rosemary engraved on me.
00:32:11If I may, Inspector, Mademoiselle Pebmarsh, would you tell me, please,
00:32:16your glaucoma, is it hereditary or brought on by the trauma?
00:32:20I drove an ambulance in your neck of the woods during the war, Monsieur,
00:32:24and was temporally blinded by the blast of a shell.
00:32:27I regained my sight, only for it to gradually deteriorate.
00:32:32My sympathies.
00:32:33I don't seek sympathy, Monsieur.
00:32:37No.
00:32:38Miss Martindale is the sweet gentleman, but do watch your step.
00:32:41There's half-finished romances lying all over the place in here, isn't there, girls?
00:32:44Oh!
00:32:45Tomorrow's an inquest, Inspector.
00:32:47Yes?
00:32:48How early would you recommend we get there?
00:32:50Only we're all terribly excited, and we wouldn't want to end up with seats down the back,
00:32:54would we, Miss Martindale?
00:32:54It's not a football match, Nora.
00:32:56An inquest is a serious legal procedure.
00:32:59Oh, I know.
00:33:00It's like a public hang.
00:33:01I'm sorry, gentlemen.
00:33:03Please, come in.
00:33:05May I introduce Hercule Poirot?
00:33:08All right.
00:33:09I typed up a bodice ripper last year about a public hanging, and it was so thrilling.
00:33:15Well, you'd wonder why they ever put a start.
00:33:16Yes, thank you, Nora.
00:33:18Miss Martindale, would you again go over the events of the phone call
00:33:22from someone purporting to be Miss Pepmarsh?
00:33:25Yes.
00:33:26Yes, I was sitting here when the call came through.
00:33:30I made a note in the book, and then I...
00:33:33Mademoiselle, if I may ask, did you do the typing for Gary Gregson?
00:33:38Yes.
00:33:39Yes, I was his private secretary.
00:33:41What?
00:33:42I set up the bureau with the money he left me after he died.
00:33:44But I am a reader most admiring, Mademoiselle.
00:33:46I still manage his estate.
00:33:49All of his papers are here, published and unpublished.
00:33:54Bachelor's in peril.
00:33:57Certainly one of his best.
00:33:58Oh, for goodness sake.
00:34:00A puzzle most intriguing.
00:34:02But it did not confuse Poirot.
00:34:04The train at the station.
00:34:07Ah, oui.
00:34:09The hair of the moustache on the cocktail glass, eh?
00:34:12The three pairs of shoes, size six.
00:34:15All designed to throw one off the scent, eh?
00:34:18But not her cute Poirot.
00:34:19Is there any chance we can get back to the real police work here?
00:34:22How was your afternoon?
00:34:28Miserable.
00:34:30Miss Martindale is as suspicious of me as the policeman.
00:34:34Has your funny little friend found out who did it yet?
00:34:37But if you asked me,
00:34:38Penmarsh could easily be lying about not making that phone call.
00:34:40That's what I've been thinking.
00:34:41The body was found in her house.
00:34:42She could have easily pinched that clock.
00:34:44No matter who stole it, it must be connected, because it's...
00:34:52What are you doing this evening?
00:34:56Avoiding people.
00:34:58Yeah.
00:34:58Me too.
00:35:01I've got to go back to the castle, but after, would you...
00:35:03Do you want to avoid meeting people together?
00:35:08Yes.
00:35:10Good.
00:35:13How did you become blind?
00:35:15Where did you fall in love?
00:35:17What's your favourite Gary Gregson novel?
00:35:19What on earth have these got to do with the investigation?
00:35:22Probably nothing.
00:35:23So why ask them?
00:35:24To gather information.
00:35:25What information?
00:35:27Police work is facts, alibis, evidence, not gossip.
00:35:31How did any case get solved in Belgium while you were in charge?
00:35:35Through the listening, through observation.
00:35:37And every case, it was solved, I can assure you.
00:35:40Mademoiselle?
00:35:41It's been a long day.
00:35:42I'm sorry.
00:35:43Can I give you a lift to your hotel?
00:35:45Ah oui, merci, but is there a hotel that you would recommend, Inspector?
00:35:49Because I have not had the time to make the reservation.
00:35:51And also, I must telephone to Georges Montvalet for my valise.
00:35:55Yes, I know a good one, the travellers.
00:35:59I'll stand you a drink.
00:36:01You coming?
00:36:02Can you drop me at the castle?
00:36:03Of course.
00:36:05You're in for a treat, Mr Poirot.
00:36:06We'll get a missing persons campaign out on curry.
00:36:17Pictures in the paper, bobby's at the train station, the whole works.
00:36:21Someone will have seen something.
00:36:24Inspector, this bar, does it have a menu for the cocktails?
00:36:28That's the finest brew on the south coast, mate.
00:36:30The key, now, is the finding identity of the murdered man.
00:36:34Is this the best hotel in Dover?
00:36:37Yeah.
00:36:38Let's line a few more of these up, shall we?
00:36:40Cherry?
00:36:44What are you laughing about?
00:36:46Poirot.
00:36:47I left him at the travellers inn, looking like pussy four in a chip shop.
00:36:50He's trying to keep it in, but he's having 40 fits at the thought of having to stay there.
00:36:54It's nice to see you laugh.
00:37:02Will you tell me about the girl who died?
00:37:05Fiona.
00:37:07Fiona.
00:37:11And then will you tell me about you?
00:37:13Sir.
00:37:26Hello?
00:37:27Is that the Castle Hotel?
00:37:30No.
00:37:31I wonder, do you have available for a few days a suite?
00:37:34Oui.
00:37:35Hercule Poirot.
00:37:36Non, non, non.
00:37:37Hercule.
00:37:39Oui.
00:37:41Poirot.
00:37:41That will do.
00:37:44Merci.
00:37:45I'm telling you, Mr. Poirot, Sheila Webb made that call to Martindale.
00:37:50But there is no reason why she would.
00:37:51There is no evidence.
00:37:53There is that.
00:37:54But in my gut, I think, once we have the evidence, it will point to her.
00:37:58But do you not think, as does the Admiral Hamling, where the murder is connected in some way to the theft of documents?
00:38:04Ah oui?
00:38:06Merci.
00:38:07À bientôt.
00:38:08Merci, monsieur.
00:38:09No, I don't.
00:38:10That's Navy talk.
00:38:11They think everything's related to the coming war.
00:38:15There'll be no war.
00:38:16But I think the man will have a link to Sheila Webb.
00:38:19She arranged to meet him there and killed him.
00:38:22But with what motive, Inspector?
00:38:24The clocks and the 413 and the Rosemary will all come back to her.
00:38:28I've seen girls like that before.
00:38:30And they're manipulative.
00:38:31Ann, let's see how she does under pressure at the inquest tomorrow.
00:38:36I'm adopted.
00:38:40I have no one.
00:38:44I was adopted by an elderly couple.
00:38:46We had no children of their own and...
00:38:50Well, they're dead now.
00:38:50It's times like this I long to have a family to go home to.
00:39:00Do you have a sweetheart?
00:39:03No.
00:39:06Damaged goods.
00:39:07I don't think so.
00:39:16You talk of Fiona in a way I don't think anyone has ever talked of me.
00:39:19That's nice.
00:39:34This is nice, Colin.
00:39:35I don't think so.
00:39:49I don't think so.
00:39:50Ah!
00:39:51What is it?
00:39:52They have been like a cat's in the rain on the mat.
00:39:55Decent.
00:39:56I don't think so.
00:39:56Shhh!
00:39:57Shhh!
00:39:58Shhh!
00:39:58Shhh!
00:39:59Shhh!
00:39:59Shhh!
00:39:59Shhh!
00:39:59Shhh!
00:39:59Shhh!
00:40:00Shhh!
00:40:00Shhh!
00:40:01Shhh!
00:40:02Shhh!
00:40:02Shhh!
00:40:03Shhh!
00:40:03How do I look?
00:40:04It is too red.
00:40:06And I don't appear dubious character.
00:40:08The inquest will be full of plainclothes detectives eyeing the faces of the crowd surreptitiously looking
00:40:13for giveaway signs.
00:40:14At least that's what happened to Gary Gregson's dusty death.
00:40:16Do you remember that Miss Martindale?
00:40:17Thank you, Nora.
00:40:18Yes, I do.
00:40:19That's how they caught the murderer.
00:40:21Gave himself away with a nervous twitch.
00:40:22Will you elbow me if I start twitching involuntarily, Miss Martindale?
00:40:26I'm worried about twitching involuntarily.
00:40:28It needs to be a habit of my mother's.
00:40:34Have you polished my new bronze, Valerie?
00:40:37Have you polished my bronze?!
00:40:41Sorry.
00:40:42I do not want to miss a word of this inquest.
00:40:45By the back door.
00:40:48I do not want to go, Jo.
00:40:50Get your coat on.
00:40:51Just get it on.
00:40:52Just get it on.
00:40:58A couple of girls.
00:40:59Best seats in the house.
00:41:04Sheena?
00:41:15Sheena?
00:41:16Are you all right?
00:41:18No, don't.
00:41:19What's wrong?
00:41:20It'll be fine.
00:41:21It'll be fine.
00:41:22They're very dry inquests.
00:41:24Just rattle the facts out.
00:41:26This arrived for me this morning.
00:41:29I received a call from a Miss Pebmarsh at about a quarter to two during the lunch hour.
00:41:44She was most particular in requesting the services of my employee, Miss Sheila Webb.
00:41:48I made a note in the book and then I checked Miss Webb's other appointments for that afternoon.
00:41:52Sheena?
00:41:53Well, I wasn't the one who made the call to the Cavendish Bureau, I assure you.
00:41:56I merely arrived home from work just after three o'clock and found a young lady in my front room suffering from a fit of hysterics.
00:42:03She ran out of the house and then I discovered the body behind the sofa.
00:42:08I spent my lunch break alone in the little cafe in the corner of the parade and I must have got back about quarter past two and left immediately for Willpower and Crescent.
00:42:21I entered the house as instructed and noticed all the clocks in the sitting room, well, they were wrong.
00:42:29This threw me a little and I checked my own wristwatch and then I saw the legs of a dead man I didn't recognise sticking out from behind the sofa.
00:42:37If it pleases the call, I'd like to read a statement from the report of the police surgeon which has been handed to me.
00:42:45After a thorough examination of the contents of the deceased's stomach, I conclude that he had not had lunch but had had a drink and that the drink had been spiked with chloral hydrate, a process known as a Mickey Finn, Your Honor.
00:43:01He'd been drugged before he'd been stabbed.
00:43:07Would you like to come and have a cup of tea, dear?
00:43:11No, thank you.
00:43:13Must have been a terrible shock.
00:43:15Well, if you'd like a cup of tea, my name's Val and we're at number 61.
00:43:33How long before he was stabbed was our Monsieur Currie drugged with a chloral hydrate?
00:43:37The surgeon says the effects of the drug can last up to four hours.
00:43:40So he was almost certainly drugged at another location and then taken to number 19, Wilburham Cresson?
00:43:46Let's talk about this back at the station.
00:43:48Inspector Mr. Hardcastle.
00:43:49It was exactly as was said by Madam Hemmings.
00:43:52He just came here to be killed.
00:43:54Inspector.
00:43:55What is it, miss?
00:43:56I'd just like to speak to him.
00:43:57He's going back to the station.
00:43:58If you want to contact him there.
00:43:59But I didn't see how what she said...
00:44:00Yes, thank you, madam.
00:44:01What she said couldn't possibly be true.
00:44:06If Currie was killed in a different location, that puts Peb Marsh back in the frame.
00:44:09Not at all.
00:44:10Even a blind woman can stab a drugged man in the heart.
00:44:13The prime of his death is estimated between two and three o'clock.
00:44:16And I have literally millions of witnesses who saw her at the photographic studio during that time.
00:44:22I exaggerate her excitement, obviously.
00:44:25But Sheila Webb arrives there.
00:44:27What do you think to this, Poirot?
00:44:29For a booking she's made herself by ringing Martindale.
00:44:33Stabs the fella, raises the alarm.
00:44:35You didn't see how scared she was when she came out of that house, Hardcastle.
00:44:38Didn't I?
00:44:39How she's been set up every step of the way.
00:44:41Look at this.
00:44:47Remember 413?
00:44:48Someone is definitely putting the frights on her.
00:44:50Inspector.
00:44:51The only thing missing is that it's not written in blood.
00:44:53Inspector, there's Nora Brent on the phone.
00:44:55We'd like to speak to you regarding the inquest.
00:44:57And we have someone who has an identification of the dead man.
00:45:00Tell her to ring back later.
00:45:02Ah, Mr Bland.
00:45:04Please, come in.
00:45:05I'm afraid the inspector's busy at the moment, madam.
00:45:07I need to speak to him because what she said couldn't possibly be true.
00:45:12She was lying at the inquest.
00:45:14You see?
00:45:15I'm sorry, madam.
00:45:16But it's just not possible at the moment.
00:45:18I'm gonna come round.
00:45:19I've seen this man before.
00:45:21I didn't know it, but then I saw the girl at the inquest.
00:45:24Which girl was this?
00:45:26The girl Sheila Webb.
00:45:27Now, I'd definitely seen her before.
00:45:29It was like having a sixth sense of déjà vu, which is a feeling I'd not previously experienced.
00:45:34And where had you seen before the Mlle Webb?
00:45:36Well, Mrs Bland and I were at the fine art fair at the Castle Hotel.
00:45:41Now that our pockets are a little deep, a hardcastle, we get invited to things like that.
00:45:45And Sheila Webb was walking through the foyer, having come from upstairs, with a man.
00:45:51This man.
00:45:53When was this?
00:45:54The day before the murder.
00:45:56Are you sure?
00:45:57Of course he's sure, Lieutenant Rice.
00:45:59It's not everyone whose judgment has melted in the face of a pretty girl.
00:46:03What are you suggesting?
00:46:05Thank you for coming, Mr Bland.
00:46:13I am questioning your ability to think professionally about a young woman you were seen kissing moments before the coroner's inquest.
00:46:23Shall we go and talk to her?
00:46:27Jenkins, we need to get down to the parade and find Miss Sheila Webb.
00:46:35You think she did it, don't you?
00:46:37At this point in time, Poirot, he rules out nothing.
00:46:40Oh, doesn't he?
00:46:42Well, I know she isn't involved.
00:46:44I know she's a good person who needs our help.
00:46:47The world is full of good people who do bad things, mon ami.
00:46:53So where are you going to go?
00:46:54I don't have anywhere to go.
00:46:55I don't know what I'm going to do.
00:46:56Don't!
00:46:57Don't trust me!
00:46:58Sheila.
00:46:59Come back inside.
00:47:00I don't want you to follow me because this all stops now.
00:47:03Come back inside.
00:47:04Do you understand?
00:47:05Come back inside, Sheila.
00:47:06Come on.
00:47:07Calm down.
00:47:08We were just walking closer.
00:47:09We didn't know we just looked inside the box and...
00:47:11We didn't know we just looked inside the box and...
00:47:12We didn't know we just looked inside the box and...
00:47:16Let her see.
00:47:17Get her, chicken!
00:47:18You're a friend, sir.
00:47:19She was trying to talk to you earlier.
00:47:20Oh, would someone please get them?
00:47:22We were just walking past us.
00:47:35We didn't know.
00:47:36We just looked inside the box and...
00:47:37Get her, chicken!
00:47:41You're a friend, sir.
00:47:42She was trying to talk to you earlier.
00:47:44Will someone please get them to stop hurting my girls?
00:47:48Will you get it to stop?
00:47:49They're crazy.
00:47:50Oh, lovely Nora.
00:47:55Using her exact words, what did Nora Brent say to you, Constable?
00:47:59She said she couldn't see how what she said could be true,
00:48:02that she was lying at the inquest.
00:48:03And this is Sheila Webb she's talking about?
00:48:05I believe so.
00:48:05But she didn't mention her name.
00:48:07Constable Jenkins, are you absolutely certain
00:48:09that those were her exact words?
00:48:10It is very important.
00:48:11I'm sure, yes.
00:48:13I think so.
00:48:14I mean, it was busy.
00:48:15Everyone was on their way out.
00:48:17Miss Martindale,
00:48:18Sheila Webb was seen with a dead man at the Castle Hotel the day before the murder.
00:48:23The Castle Hotel?
00:48:25That would be during working hours.
00:48:27Did she have an appointment there?
00:48:28Well, she often has an appointment there.
00:48:32She had a regular client who resides at the Castle Hotel.
00:48:38And I use the word client with all its meaning, sir.
00:48:42Sheila Webb has a habit of inappropriate familiarity with some of our male clients.
00:48:47A Professor Purdy, especially, who resides at the Castle Hotel and who requests her services at least once a week.
00:48:56He's bought her gifts, I believe.
00:48:58Perhaps you've noticed a silver wristwatch, which a girl like Sheila couldn't possibly afford.
00:49:04Oui, mademoiselle.
00:49:05I would not be at all surprised to hear that she had been seen with other gentlemen at the Castle Hotel.
00:49:10That's a disgraceful insinuation.
00:49:12Is it, lieutenant?
00:49:13Surely you've been aware of the effects Sheila Webb has on a certain type of man.
00:49:17Tell to me, if you please.
00:49:18Has mademoiselle Sheila Webb or mademoiselle Nora Brent ever worked on the estate of Gary Gregson?
00:49:22Not again.
00:49:23Who cares about Gary Ruddy Gregson?
00:49:26Can't you see the case that is building in front of you here?
00:49:30No, monsieur.
00:49:31I deal with all matters, Gregson.
00:49:34Merci, mademoiselle.
00:49:35Come on.
00:49:37Where is it that you go, inspector?
00:49:38To show the dead man's photograph to the castle staff, of course.
00:49:41Are you coming?
00:49:42No.
00:49:43No?
00:49:43No.
00:49:44I don't even begin to understand you, Poirot.
00:49:50Evening, sir.
00:49:51Evening.
00:49:56What news have you got for me, Rex?
00:49:58Well, I ran checks on the residents and names of 61, Wilburham Crescent, as well as I can, and there seems to...
00:50:03And what did you find?
00:50:05Not much.
00:50:06Truth be told, the plans have come into money, but as you can see from these bank transactions, it's genuinely an inheritance from Canada.
00:50:15Well, Colin Mabbott next door is of interest to us, because he travels extensively on the continent.
00:50:23Yes, Mabbott works for Armstrong Ordnance, doesn't he, who supply the French army with weapons.
00:50:28He does.
00:50:29So not your usual German spy?
00:50:32No.
00:50:33Anything else?
00:50:34Not as yet.
00:50:35Does this second murder on the parade have anything to do with Wilburham Crescent?
00:50:39Yes.
00:50:40In what way?
00:50:41I... I don't know.
00:50:43You don't know much, do you, Lieutenant?
00:50:44Does Poirot?
00:50:47Not yet.
00:50:48Maybe this business in Wilburham Crescent has nothing to do with the leak and Fiona Hanbury's death.
00:50:54Maybe you're wrong, Lieutenant.
00:50:56I don't think so, sir.
00:50:58Well, you have one more day, and then I'll bring in other agents, do you understand?
00:51:02Is that mine?
00:51:25Yes.
00:51:27Where did you find it?
00:51:28Sorry I wasn't there for you.
00:51:33What do you mean?
00:51:35On the night you died.
00:51:37Let me get my hat and my coat.
00:51:39Let's go down the Bluebell.
00:51:41Then let's go to my house.
00:51:43All right?
00:51:44All right.
00:51:45Stay here.
00:51:45Good night.
00:51:57Good night.
00:52:02Do you recognize him? Has he been in the hotel for any time last week?
00:52:19I don't think so.
00:52:22Possibly accompanied by a young lady, Miss Sheila Webb.
00:52:25I cannot believe that poor girl was murdered in broad daylight where anyone could have seen.
00:52:33It sounds a most desperate cry.
00:52:36Right. Most desperate, indeed.
00:52:40Tell to me, if you please, after the inquest, did Mlle Nora Brandt say anything to you?
00:52:47No. Why would she?
00:52:49So you did not know her at all?
00:52:50She had not made, perhaps, a visit to the studio here with her sweetheart?
00:52:55I don't recognize the name, but it's possible.
00:52:59Appointments are usually made in the man's name.
00:53:01You're welcome to look.
00:53:03Mr. Wright keeps copies of every photograph he's ever taken, and he's been here over 30 years.
00:53:08Merci, mademoiselle, but I do not think that would be necessary.
00:53:12Does M. Wright develop his own portraits?
00:53:14Oh, yes. He does everything here.
00:53:15If he sends out to a lab, the results are never as professional.
00:53:18Oui, d'accord.
00:53:20Ah, Pep Marsh.
00:53:23So you have had taken your own portrait.
00:53:25No, monsieur.
00:53:30These are my sons.
00:53:32They passed through here during the war and sent a portrait back to me.
00:53:36They are most handsome.
00:53:38Yes, they were.
00:53:40They were.
00:53:41I volunteered for service after I lost them, and then after the war, came here.
00:53:48And it pains me to think, monsieur, that if this peace does not hold, there'll soon be another generation of boys in these files,
00:53:56who send photos back to their parents, who send photos back to their parents, but never get home.
00:54:01Oh, hello.
00:54:13Hello.
00:54:21Where have you been?
00:54:22Can I be with you tonight?
00:54:24Ah, Poirot.
00:54:38Just in time to help.
00:54:40We've had over 200 responses to the picture of a dead man in the paper.
00:54:43We're trying to cross-reference room, see if the same name keeps coming up or the photograph fits.
00:54:48Could they not identify him at the Castle Hotel?
00:54:51No.
00:54:52Nothing.
00:54:52They knew Sheila Webb and Professor Purdy.
00:54:55But I think the Bland's must have seen them and got mistaken.
00:54:58Too eager to help.
00:55:00Do you agree?
00:55:01No.
00:55:03I do not think it is important who he is.
00:55:06But who he is.
00:55:09Right.
00:55:10Well, I'm not going to rise to that one.
00:55:12Bonds, Pah.
00:55:13Oh, the clocks, Pah.
00:55:15All bought from the same stall in deal market within the last month.
00:55:18No idea on the buyer, though.
00:55:20All bought there except the...
00:55:22The rosemary clock.
00:55:24Yes.
00:55:25The rosemary.
00:55:26Just as I thought.
00:55:29Thank you, Inspector.
00:55:30It's not important who he is, but who he is.
00:55:39Not important who he is, but who he is.
00:55:42Anyone understand that?
00:55:43Not important who he is, so is he.
00:55:55Not important who he is.
00:55:56Who are you?
00:55:57Maybe not important?
00:55:57No Leo.
00:55:57I love you.
00:55:58Yeah.
00:55:58You thank you.
00:55:58I love you.
00:55:59Most extraordinary.
00:56:29Forgive me, but unless I am mistaken, you must be Professor Purdy.
00:56:52Where did you go after me in quest?
00:56:59I want the truth.
00:57:05For a walk on the front.
00:57:08It could have easily been me who made the call to Miss Peppermarsh.
00:57:13Easily me who killed that man.
00:57:15I could have done it all.
00:57:16I mean, there's no proof that it wasn't.
00:57:18I just needed time to think what to do.
00:57:22But when I made my way back to work, I saw Nora was dead.
00:57:27I knew I'd be blamed for that as well.
00:57:30I left Dave this afternoon.
00:57:32I wasn't going to come back.
00:57:34Which would have been bad.
00:57:36Yes, it would.
00:57:38But you need to see the police and clear your name.
00:57:41Yes, I know.
00:57:42You believe I'm innocent, don't you?
00:57:45You believe it wasn't me.
00:57:52I'm going to get us both a drink.
00:57:54There's glasses in the kitchen, Ed.
00:57:56Yes.
00:58:13Do you have the small ones?
00:58:18Yes.
00:58:24When did you get this?
00:58:30When did you get it?
00:58:33I'm taking you with me to the police station now.
00:58:38Now.
00:58:41Where did you get the murder weapon?
00:58:45All right.
00:58:47Where did you get the clock?
00:58:51Unless I'm mistaken, Inspector.
00:58:54Mademoiselle Webb received the clock when she was a child?
00:58:57For her birthday?
00:58:59Or was it Christmas, perhaps?
00:59:02When I was born.
00:59:05The home told me it was a gift from my mother.
00:59:07Who I never knew.
00:59:09What are you talking about?
00:59:10Rosemary is the first name of Mademoiselle Webb.
00:59:14Is that not so?
00:59:16Mademoiselle R.S. Webb?
00:59:18Yes.
00:59:19Rosemary Sheila.
00:59:21And yet you choose to use your second name, no?
00:59:26May I continue?
00:59:28Ah, oui. Bien sûr.
00:59:30Pardon.
00:59:33If the clock was yours, what was it doing at Miss Pebmarsh's house?
00:59:38Well, she does not know, Inspector.
00:59:39Which is why she stole it.
00:59:49Mademoiselle.
00:59:50The spring, it is broken, n'est-ce pas?
00:59:52So it is possible that a few weeks previously,
00:59:55you took it to the jurors to have it repaired,
00:59:57and then, what, you lost it?
00:59:59And the next time you see it,
01:00:02it is at number 19, Wilbraham Crescent.
01:00:05And there is there a dead man.
01:00:08The police there are everywhere.
01:00:10And so you think to yourself,
01:00:12why is someone trying to frame me for murder?
01:00:15And then you notice at all the clocks,
01:00:16they spell 413,
01:00:18the number of the very room in the hotel,
01:00:20where, in your loneliness,
01:00:22you have begun a love affair with a man
01:00:24who does not care for you.
01:00:27And so you think to yourself,
01:00:29why is someone trying to expose my shame?
01:00:33You do not know.
01:00:36And the knife?
01:00:38I suspect that you have never seen this before,
01:00:40or else almost certainly you would have got rid of him.
01:00:43Inspector, may I ask a question?
01:00:44Of course.
01:00:45Will he be answering it as well?
01:00:48Mademoiselle,
01:00:49when you returned from lunch on the day of the murder,
01:00:52Mademoiselle Nora Brent, what was she doing?
01:00:54Talking?
01:00:55Nora was always talking.
01:00:57About what?
01:00:58I strut off to lunch,
01:00:59and the heel snaps in a grate like a twig in a storm.
01:01:01So now we make the progress.
01:01:05And in which grate was it
01:01:07did Mademoiselle Nora Brent break her shoe?
01:01:09Yes.
01:01:10Which was it?
01:01:11Let's bring the grate in for questioning, shall we?
01:01:13Inspector,
01:01:14as you told to me only yesterday,
01:01:15can you see the case that he's building in front of you?
01:01:18Not the case about the grate.
01:01:20No.
01:01:21I don't know which grate it was, sir.
01:01:22She's here, Inspector.
01:01:26Who's here?
01:01:28One name came up five times in response to the newspapers.
01:01:32Then the dead man's widow rings up
01:01:34and says she wants to come in to identify the body.
01:01:38His name's Harry Castleton.
01:01:41Put this one back in the cell, Constable.
01:01:49This is far from over.
01:02:04That's him.
01:02:05That's Harry.
01:02:06When's the last time you saw your husband, Mrs. Castleton?
01:02:10Fifteen years ago.
01:02:12And he wasn't much of a husband.
01:02:15I don't even know if Castleton was his real name.
01:02:18He said he was in insurance,
01:02:20but that was just a ruse so that he could travel around
01:02:22and run scams on lonely women.
01:02:24I gave him the heave-ho when I discovered that he was engaged to that...
01:02:30...a schoolteacher she was.
01:02:33But by then, he had taken me for all my savings.
01:02:38Did your husband have any distinguishing marks?
01:02:41No.
01:02:41Yes, he did.
01:02:43Behind his left ear.
01:02:45He cut himself shaving once.
01:02:47Made a terrible mess in the sink.
01:02:51Thank you for coming, Mrs. Castleton.
01:02:53I don't use that name now.
01:02:55My name is Rival.
01:02:56Melina Rival.
01:02:58It was my stage name before I ever met my husband.
01:03:01And I reverted to it the moment he disappeared.
01:03:04This murder gets more complicated by the minute.
01:03:07Oui.
01:03:08Which can only mean one thing, mon ami.
01:03:12The solution?
01:03:14It must be very simple.
01:03:17Where are you going?
01:03:19Well, I feel it is necessary to speak once again to the cat lady.
01:03:23Madam Hemmings.
01:03:26Why?
01:03:28What an excitement, everybody.
01:03:30The big French Tom's paying us another visit.
01:03:32I am Belgian, madame.
01:03:33Please sit yourself down.
01:03:34Although you might find the sofa a little damp.
01:03:37Tiddly pops is sometimes tiddly by name as well as by nature.
01:03:40Would you like me to fold up a bath towel and put it on the seat?
01:03:43The dampness takes time to seep through then, I find.
01:03:47Madam, you told to me that in the garden the other evening,
01:03:51you overheard hard words passed between Monsieur Mabata and Mlle Pepmarche.
01:03:57Yes.
01:03:57Why was that unusual?
01:03:59Well, because he's never there.
01:04:01And when he is, he's very polite.
01:04:03A lovely man.
01:04:05It's that bad-tempered nanny everyone usually has ding-dongs with.
01:04:08Can you remember what was said?
01:04:10Well, you were there, weren't you, Coby?
01:04:11Well, you were there, weren't you, Coby?
01:04:12Well, you were there, weren't you, Coby?
01:04:13Well, you were there, weren't you, Coby?
01:04:14Well, you were there, weren't you?
01:04:15Not with them swarming all over the place, no.
01:04:17If all were wasted, if we don't act now.
01:04:21She was talking about her plants, I imagine,
01:04:24the way those girls trample all over them.
01:04:26And this discussion, did it take place the evening
01:04:28after the body was discovered in the sitting room of Mlle Pepmarche?
01:04:31No, it was Wednesday,
01:04:33because we'd all just enjoyed bandwagon on the wireless.
01:04:36But it was Wednesday that the body was discovered.
01:04:39No, Tuesday, thank you, yes,
01:04:41because I noticed the laundry van pull up to her house at lunchtime.
01:04:45The laundry always arrives on Tuesday.
01:04:47Monsieur, hello?
01:05:03Hello?
01:05:05Hello.
01:05:06Mrs. Bland?
01:05:07Ah, Madame Bland.
01:05:10I hear on the jungle drums that you've identified the dead man.
01:05:14Well, shall we say the police?
01:05:16They are confidants.
01:05:17That's wonderful.
01:05:18Yes, indeed.
01:05:19Oh, tell to me, if you please, Madame,
01:05:21from where in Canada are you?
01:05:23It is simply that I have some friends in Montreal,
01:05:25and I wondered if you knew them.
01:05:27Oh, not the French-speaking part, no.
01:05:29Edmonton, it was.
01:05:30Alberta.
01:05:31Ah, je suis désolé.
01:05:33How foolish of me, huh?
01:05:34Did you find that when you were coming over here,
01:05:36everyone would say to you,
01:05:38I know someone in England, Newcastle,
01:05:42pleased to say hello,
01:05:44Oh, yes.
01:05:45People can be so silly.
01:05:46Oui.
01:05:47But it was natural for me to settle in Dover
01:05:48because this is where my sister lives.
01:05:50Ah.
01:05:50As well as meeting Joe here.
01:05:52But of course.
01:05:53Well, I'll let you get on, monsieur.
01:05:54But that's wonderful news about the identification.
01:05:57Yes, indeed.
01:05:59Madame.
01:05:59I did what you asked.
01:06:07Do you want to come and see?
01:06:08Oui.
01:06:10Mademoiselle Jenny?
01:06:12Mademoiselle May?
01:06:13Tell to me, what is it you have found?
01:06:15Coins.
01:06:16Coins?
01:06:17About two insects.
01:06:18Ah, but that's very good.
01:06:19And you found all this in the garden of Mademoiselle Pébmar?
01:06:22But you haven't seen the best thing yet.
01:06:24But that was in our garden, not hers.
01:06:25What is the best thing?
01:06:28Ah.
01:06:29S'il te plaît.
01:06:31Merci.
01:06:31You may have known him under a name other than Castleton.
01:06:53No, sir.
01:06:54No.
01:06:55And he was putting pressure on you for money, maybe.
01:06:57Maybe he was blackmailing.
01:06:59Sir, it's Pyro.
01:07:01Hardcastle.
01:07:05Inspector, it is a matter of urgency that you dispatch but immediately a telegram to Somerset House.
01:07:11It is also a matter of urgency that I continue to interview my prime suspect.
01:07:16So will you go away for ten blinking minutes?
01:07:19No.
01:07:20And you must release Mademoiselle Sheila Webb.
01:07:23Release her?
01:07:24Oui.
01:07:24It is evident to Poirot that she is not guilty, but I will need her help to prove it.
01:07:28Also, I will need to speak to her over the telephone, but immediately after I have given you instructions for Somerset House.
01:07:35What is going on, Poirot?
01:07:36I will tell you everything that Poirot has discovered, but you must promise to release Mademoiselle Sheila Webb and act according to my instructions.
01:07:43Go on.
01:07:46You must get Somerset House to verify the marriage record of Harry Castleton to Mademoiselle Malina Rival.
01:07:53And you must also get them to verify something else for me.
01:07:57This is Annabelle Larkins, I'm sure, and this was discovered in Mabbitt's garden.
01:08:02Also, I learned from his daughters that this afternoon he intends to travel to France.
01:08:07You must prevent this.
01:08:09No, you've got the wrong end of the stick.
01:08:11Trawling through the histories of the neighbors, we found this.
01:08:15The Waterhouses, with their perfect English name, their perfect English voices, are German.
01:08:20They came over in 1936 from Munich.
01:08:23They changed their name from Tuchmann.
01:08:25But of course they are German.
01:08:28Where did you not notice the slips in the way they spoke?
01:08:30We like this speech because it's quiet also.
01:08:32The use of the word also at the end of the sentence, a mistake most common and even the
01:08:38most fluent German when they speak English.
01:08:41Why didn't you say?
01:08:43Because they cannot be connected, Lieutenant.
01:08:46Maybe they buried this in Mabbitt's garden to draw us away from...
01:08:49No, no, no, no, no.
01:08:50Monsieur Mabbitt and Mademoiselle Pettnosh were overheard on the evening of the murder.
01:08:54We need to do it now, Mr. Mabbitt.
01:08:56Not with them swarming all over the place, no.
01:08:59It will all be wasted if we don't act now.
01:09:02It was presumed that they were arguing about the children, but no, Poirot thinks not.
01:09:07Poirot suspects that they were talking about the police that were now in the neighborhood
01:09:11and the importance of getting the stolen documents to their contact on the continent.
01:09:16Miss Pettnosh.
01:09:17Consider this.
01:09:18The note that was made by Mademoiselle Fiona on the night she followed Larkin?
01:09:22It would have been made in haste, huh?
01:09:24A piece of paper pulled from her handbag?
01:09:27A scribble?
01:09:27A scribble?
01:09:32What does it mean?
01:09:34Number 61, no one knows what it means.
01:09:36Exactement, mademoiselle, exactement.
01:09:38So, if you please.
01:09:40Perhaps Poirot is correct when he does this.
01:09:4819-year-old Brown Crescent.
01:09:50Mademoiselle Pettnosh.
01:09:51Can I ask you where you're going, please, Mr. Mademoiselle?
01:10:07Why are you asking?
01:10:08Routine.
01:10:10Well, I'm taking the Calais ferry in three quarters of an hour and have business in France for the next three days.
01:10:17Good day, sir.
01:10:17Will you step over to the car, please, sir?
01:10:20Just a minute of your time.
01:10:23What is the meaning of this, lieutenant?
01:10:25Bear with us, sir.
01:10:26I apologize for the inconvenience.
01:10:28Good afternoon.
01:10:37Good afternoon, mademoiselle.
01:10:39It is I, Hercule Poirot.
01:10:42And what can I do for you, monsieur?
01:10:45Eh bien, mademoiselle, I have reason to believe that the mademoiselle Nora Brandt may have visited the studio here to have a photograph taken with a gentleman.
01:10:53And I wondered if I might take you up on your offer most kind to have a look through your records.
01:10:57Of course.
01:10:59Not knowing the gentleman's name, I suppose it would be best if you were to start at the beginning of the alphabet and work your way through.
01:11:06Oui, d'accord.
01:11:07Then you should begin here.
01:11:10Merci.
01:11:18Fine weather for a crossing today, sir.
01:11:20How long is this going to take?
01:11:21Just a few minutes more.
01:11:29What have we here?
01:11:33Come on!
01:11:34Come on!
01:11:35Get off!
01:11:35Get off me!
01:11:36Would you like a cup of tea, monsieur?
01:11:53No, no, no, no.
01:11:54Merci, mademoiselle.
01:11:55I think I have found what I am looking for.
01:11:57Already?
01:11:57I thought that the sweetheart of mademoiselle Nora Brandt had a name at the beginning of the alphabet, and luck it has struck.
01:12:08Melissa and Pebmarsh, I'm Lieutenant Race of the Royal Navy, and I'm arresting you under suspicion of high treason.
01:12:18Would you please accompany me?
01:12:20Oh, so let's have another one, then.
01:12:26Come on.
01:12:28Mrs. Rival.
01:12:30Oh, hello.
01:12:31I've said everything I had to say.
01:12:33And I'm back to London on the 2.15, so thanking you.
01:12:37Chin-chin.
01:12:37Can I ask when Harry Castleton cut himself shaving?
01:12:41Well, I don't know when.
01:12:43When we were together.
01:12:44Fifteen years ago.
01:12:45I told you I haven't seen him for fifteen years.
01:12:47Didn't you take notes?
01:12:48The police surgeon tells me it's a much more recent scar, perhaps only two years old.
01:12:54Well, I remember him doing it, so your police surgeon is incorrect, Your Honour.
01:12:58Mrs. Rival, you know that perverting the course of justice carries a maximum prison sentence of four years.
01:13:04Which is why I don't do it.
01:13:05Is this your correct address in London?
01:13:09I believe it is, yes.
01:13:11Good.
01:13:26Oh, Sheila.
01:13:28Nice to have you back.
01:13:30I've been typing up some of the work that Nora left unfinished on Naked Love now that you're back.
01:13:35Perhaps you can take it over.
01:13:36Of course, it's mine down.
01:13:37Well, the manuscript's in my office.
01:13:39It's lunchtime, girl.
01:13:41Quite an operation you had going here.
01:13:46Larkin would steal the documents.
01:13:50Peb Marsh would make a copy.
01:13:53And Mabot would make a drop somewhere in France.
01:13:56And all of you recruited by the Waterhouses.
01:14:01No, Lieutenant.
01:14:03The Waterhouses.
01:14:04You were doing quite well until you mentioned that scum.
01:14:08Excuse me.
01:14:09What are we doing here?
01:14:16Are we under arrest?
01:14:17Why did you change your name from Tuchman to Waterhouse?
01:14:20Why are you living in England under false identities?
01:14:22Weil wir Juden sind.
01:14:26What?
01:14:27We are Jewish.
01:14:29This is England.
01:14:30Why are you disguising the fact you're Jewish?
01:14:32You think that anti-Semitism doesn't exist here as well, Lieutenant?
01:14:36This is our third English city in the last two years.
01:14:39When you have lived through what we did in Munich, Lieutenant, at the first sign of it, you move on.
01:14:43All we want is to live our lives quietly, without threat, without prejudice.
01:14:56The irony is, Lieutenant, it's in our country's interests to have peace with Germany.
01:15:02To stop the communists creeping ever westward.
01:15:06We are patriots who pass information to Hitler.
01:15:10Because if Chamberlain's policy of appeasement doesn't hold, and someone like Churchill gets his hands on power,
01:15:16we will be dragged into a war a hundred times worse than the last one.
01:15:21And in that scenario, the quicker Germany knocks out a weak, liberal England, the better for all Europe.
01:15:26Oh, what would remain of Europe under the Nazis?
01:15:29Monsieur, you have not seen your country overrun by foreign tyranny.
01:15:32I have, and I tell you, monsieur, that I value the weak, liberal England, as you call it,
01:15:39as a country well worth the fighting for.
01:15:41But you won't do the fighting, will you, monsieur?
01:15:44It'll be the young boys again.
01:15:47And if I can save one life by keeping this country weak,
01:15:51so it cannot engage in war with Germany,
01:15:53then I will be proud of what I've done.
01:15:57Fiona Henry had a life.
01:15:59I think people like that are called collateral, lieutenant.
01:16:03They'd die for a greater good.
01:16:05Please!
01:16:06Help me!
01:16:08The man found dead in Miss Bedmarsh's sitting room also had a life mother.
01:16:17As did the secretary, Nora Brent.
01:16:20No, sir, monsieur Poirot and I don't believe those deaths had anything to do with these people.
01:16:24Well, in fact, if we're correct, Inspector Hardcastle is at this moment making an arrest in that matter of investigation.
01:16:31He practically put a black cap on his head and gave me four years.
01:16:34I'm not going to go to prison for four years. I won't do it!
01:16:40Well, I want more money.
01:16:41More than the 200. No, I want more.
01:16:46All right, I know where that is.
01:16:48I'll meet you there.
01:16:51Where do you think she's headed?
01:16:53Down to the sea front.
01:16:54If she can stay upright.
01:17:02Can you see her?
01:17:04No.
01:17:04Where'd she come?
01:17:13Sir!
01:17:13Sir!
01:17:24So now we are all assembled.
01:17:48What's this about, Inspector?
01:17:52Mr. Poirot would like a word.
01:17:54But first, please, to sit down.
01:17:56All of you, please.
01:17:57Mademoiselle Martindale.
01:17:58Monsieur and Madame Blanc.
01:17:59Mademoiselle Chido.
01:18:00I thank you all very, very much for coming here this evening.
01:18:12We had little choice.
01:18:13This has been a puzzle most intriguing, which has tested Poirot, but not found him wanting.
01:18:25So first, if I may, let us take a look at the facts.
01:18:28We have a telephone call made to the Cavendish Bureau requesting the services of her secretary by name, Mademoiselle Chiloweb.
01:18:37A telephone call that nobody admits to making.
01:18:39She arrives in a room full of clocks that nobody admits to owning, but all of these clocks, they spell exactly at the same time 413, which has no significance.
01:18:53She finds there a dead man with an identification that is false and who is impossible to trace because nobody knows him.
01:19:01I hope you will agree with me on these facts, Mademoiselle Martindale.
01:19:06Yes.
01:19:07Madame Blanc.
01:19:09I don't understand why myself and my husband have been summoned here.
01:19:13All will become clear, madame.
01:19:15Then we have the note most threatening that was sent to Mademoiselle Chiloweb.
01:19:19We have the second murder, that of the poor Nora Brent, who was a colleague of Mademoiselle Webb.
01:19:23And we have the identification definitive of the dead man down to the scar behind his left ear.
01:19:28A gentleman who apparently was seen in the hotel with Mademoiselle Chiloweb, a man who preyed on women who are vulnerable.
01:19:36And then we have, well, we have complication upon complication.
01:19:39We have evidence that he's totally circumstantial that builds and builds into a wall of proof against Mademoiselle Chiloweb.
01:19:46But Poirot, he realizes that in amongst this, what is the word for obscuracy, this dark cloud of muddle, there is one fact that can be proved.
01:19:58Is that not so, monsieur?
01:20:00Which is what?
01:20:00Which is the eyewitness, Lieutenant Race, who saw a woman so frightened, so bewildered, that it was not possible for her to have committed murder.
01:20:11It was the Lieutenant Race who also led Poirot to the solution when he said of the note most threatening...
01:20:15The only thing missing is that it's not written in blood.
01:20:18Mis and me, there are moments for a detective when the light...
01:20:21It goes on.
01:20:22Where had I heard before that expression?
01:20:26Cheap thriller on the stage?
01:20:27Exactement, mon ami, exactement.
01:20:30The word revenge written in his blood on the blotter.
01:20:33Ah, là.
01:20:34The cheap thriller, huh?
01:20:36The plots that are complicated.
01:20:37The usual diets of the Cavendish Bureau of Mademoiselle Martindale.
01:20:41And it may be to think of la pauvre Mademoiselle Nora Brent.
01:20:44A young woman who was killed because the heel of her shoe broke...
01:20:49Fiddlesticks!
01:20:50...20 yards from her place of work.
01:20:52Which meant that she returned early to her desk in her lunch hour that day.
01:20:56She knew that the telephony did not sound.
01:20:59She knew that there was no telephone call from Mademoiselle Pebmarsh requesting the services of the secretary, Mademoiselle Sheila Webb.
01:21:05I received the call from a Miss Pebmarsh at about a quarter to two during the lunch hour.
01:21:10But I don't see how what she said could be treated.
01:21:12Yes, thank you, madam.
01:21:13What she said couldn't possibly be true.
01:21:15So she had to be silent.
01:21:18Is that not so?
01:21:22Mademoiselle Martindale.
01:21:24That is ridiculous.
01:21:25No more ridiculous than the cheap thrillers.
01:21:27The plots that are complicated that you had spent your life working amongst.
01:21:30Lunchtime, gals.
01:21:32And it was at the instigation of Hercule Poirot that Mademoiselle Sheila Webb...
01:21:35...she made a search of the papers of the estate of Gary Gregson...
01:21:38...and she found this short story that Poirot here remembered.
01:21:41It is full of clocks, identifications that are false.
01:21:46There is even a build-up of evidence to frame a person who is innocent...
01:21:49...who felt so implicated in a crime they did not commit that they became frightened and irrational...
01:21:54...and therefore more suspicious to the police.
01:21:58It is all here, Mademoiselle.
01:22:00You could not even think of a plot of your own devising.
01:22:03Oh, except, pardon, for the addition you made of the clock.
01:22:07The Rosemary clock that you stole from the handbag of Mademoiselle Sheila Webb...
01:22:10...when she took it to the jewelers to be repaired.
01:22:12Is that not so?
01:22:13And then you frightened her with a number.
01:22:15Four-thirteen, the time of the clocks.
01:22:18But also the room in the hotel where Mademoiselle Sheila Webb conducting her love affair...
01:22:22...that was to you also shameful.
01:22:24But she is not what she seems.
01:22:26Because for Mademoiselle Sheila Webb, her love, it was real.
01:22:30Why would I want that man dead in Wilbraham Crescent, monsieur?
01:22:33I didn't even know him.
01:22:35Do you know what this is, Madame Bland?
01:22:36It is the death certificate of the first Madame Bland.
01:22:41Not you, but the woman from Canada.
01:22:45The woman who inherited all of the money.
01:22:48When the inheritance came through, Joe said no one would know.
01:22:52They didn't know his wife was dead and all we had to do was...
01:22:55Shut up, Val!
01:22:57Shut up!
01:23:03So, who is the dead man, Poirot?
01:23:06I do not know, Inspector.
01:23:08But as I told you before, it is not important who he is, but who he is.
01:23:15And Poirot suspects that he is a friend or relative of the first Madame Bland...
01:23:19...who left Canada, came to this country to look her up.
01:23:22This was a man who knew that the money had gone to the wrong woman.
01:23:25A man who, if murdered, would become almost impossible to trace for the police in England.
01:23:29Madame Bland, you said something strange to Boirot.
01:23:31But it was natural for me to settle in Dover because this is where my sister lives.
01:23:34Your sister, Madame Bland.
01:23:36Your sister, who is as Canadian as you are.
01:23:39When the letter from his wife's uncle arrived, Joe said he and Cathy could work it out.
01:23:52He could rig the old van up to look like the laundry.
01:23:54Ah, yes, of course, the laundry van that was seen to arrive by Madame Hemmings.
01:23:57But it arrived on the wrong day.
01:23:58It arrived on the Wednesday instead of the Tuesday.
01:24:00Yes, you see, because they wanted to dump him at the blind woman's.
01:24:04Find a mark on his body and get him a leaner to verify it.
01:24:06Who you knew from your days in the theatre.
01:24:08Oh, come on in.
01:24:09This way.
01:24:10I hope this isn't an inconvenience.
01:24:12Oh, not at all.
01:24:18There, look, he has a scar behind his left ear.
01:24:21Cathy said she knew how to make it work, that there was a young tart at the bureau who no
01:24:27one would miss, who would deserve it.
01:24:29She said she'd set her up.
01:24:31It would be all right.
01:24:32They said there would be no reason for the body to be at the blind woman's house with Sheila
01:24:36Webb, and it would just confuse the police.
01:24:38It would be confusion upon confusion, complication upon complication.
01:24:44Joe worked so hard all his life for nothing, and the money was so huge.
01:24:49It was so huge.
01:24:51But they made me do it.
01:25:12They made me put the knife into Sheila Webb's bag at the inquest.
01:25:17They made me press Melina to come and lie, to falsify the marriage, and falsely identify
01:25:23the body, and then when she was scared, to come to the seafront so they could kill her.
01:25:30It was only going to be the one, Deb.
01:25:32It was only going to be the one.
01:25:34You're good?
01:25:41You're good?
01:25:44Thank you, ma'am, where's he?
01:26:14Thank you, Mr. Poirot. And if you're staying in Dover tonight, I'd very much like to stand you another pint.
01:26:21Oh, well, that is most kind of you, Inspector, but it is tonight that I travel to London.
01:26:25But if you should ever find yourself there, if you please to look me up, I will stand for you the cocktail.
01:26:32Right. Pleasure to know you, sir.
01:26:35Inspector.
01:26:36Lieutenant.
01:26:36Lieutenant.
01:26:41Monsieur Collin, do I have to tell you to go after her?
01:26:48No, then go after her.
01:27:06I've only known you a few days.
01:27:26And already it's like we've fallen in love. Married. Had seven children. Divorced. Met again under peculiar circumstances. Married. Had a few more children. Divorced.
01:27:50She must have hated me so much.
01:27:52Shall we start again, Sheila?
01:28:06Yes, please.
01:28:07Let's start again.