First broadcast 25th December 2010.
Hercule Poirot travels to London on the Orient Express. During the first night of the trip, the train is forced to stop due to a snow drift that has partially obstructed the tracks.
David Suchet as Hercule Poirot
Tristan Shepherd as Lieutenant Morris
Sam Crane as Lieutenant Blanchflower
Toby Jones as Samuel Ratchett
Brian J. Smith as Hector MacQueen
David Morrissey as John Arbuthnot
Jessica Chastain as Mary Debenham
Stewart Scudamore as Concierge
Serge Hazanavicius as Xavier Bouc
Eileen Atkins as Princess Dragomiroff
Susanne Lothar as Hildegarde Schmidt
Denis Menochet as Pierre Michel
Barbara Hershey as Caroline Hubbard
Hugh Bonneville as Edward Masterman
Marie-Josée Croze as Greta Ohlsson
Stanley Weber as Count Andrenyi
Elena Satine as Countess Andrenyi
Joseph Mawle as Antonio Foscarelli
Samuel West as Dr Constantine
Tiziana Azzopardi as Adulteress Wife
Ekaterina Botziou as Passenger
Manuel Cauchi as Turkish Husband
David Lyddon as Train Engineer
Darren Petrucci as Yugolslavian Police Captain
Umit Ulgen as Hawker
Hercule Poirot travels to London on the Orient Express. During the first night of the trip, the train is forced to stop due to a snow drift that has partially obstructed the tracks.
David Suchet as Hercule Poirot
Tristan Shepherd as Lieutenant Morris
Sam Crane as Lieutenant Blanchflower
Toby Jones as Samuel Ratchett
Brian J. Smith as Hector MacQueen
David Morrissey as John Arbuthnot
Jessica Chastain as Mary Debenham
Stewart Scudamore as Concierge
Serge Hazanavicius as Xavier Bouc
Eileen Atkins as Princess Dragomiroff
Susanne Lothar as Hildegarde Schmidt
Denis Menochet as Pierre Michel
Barbara Hershey as Caroline Hubbard
Hugh Bonneville as Edward Masterman
Marie-Josée Croze as Greta Ohlsson
Stanley Weber as Count Andrenyi
Elena Satine as Countess Andrenyi
Joseph Mawle as Antonio Foscarelli
Samuel West as Dr Constantine
Tiziana Azzopardi as Adulteress Wife
Ekaterina Botziou as Passenger
Manuel Cauchi as Turkish Husband
David Lyddon as Train Engineer
Darren Petrucci as Yugolslavian Police Captain
Umit Ulgen as Hawker
Category
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TVTranscript
00:00:00No!
00:00:02Lieutenant, you lie to Poirot!
00:00:06You say that you were in the barracks by midnight.
00:00:09But Poirot has proved this to be false!
00:00:12At a quarter to one in the morning, you were seen over two miles away in the company of the woman who died.
00:00:16General, this is not a murder, as is suggested by the Palestinian police.
00:00:20But I do believe that the lieutenant lied about his whereabouts, first out of panic,
00:00:25and then by sticking to this lie, by reinforcing it with lie after lie through weeks and weeks of deception,
00:00:33he has heap suspicion and a deep shame on himself, his regiment, and his wife.
00:00:40General, the neck of this woman was not broken by the human health, but by her form.
00:00:46You see here, where her neck is broken in not one...
00:00:49Put it down!
00:00:55The End
00:01:13Before I take my leave of you in Istanbul, Monsieur,
00:01:16My commanding officer has once more asked me to impress upon you his thanks for solving our regimental difficulty.
00:01:28If I may speak out of turn, sir,
00:01:32I think it unjust that one mistake cost Lieutenant Morris so dearly.
00:01:38He was a good man.
00:01:40He was involved in an accident.
00:01:42Unjust?
00:01:46He made an error of judgment.
00:01:49He was a good man.
00:01:50He did not have to end in suicide.
00:01:53I think he believed he had no choice.
00:01:55A man like your friend, Lieutenant, always has choice.
00:01:59And it was his choice to lie that brought him into difficulty with the law.
00:02:03...
00:02:1545
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00:02:2726
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00:02:3043
00:02:31Mr. Ratchett, sir.
00:02:34Details have arrived for the Italian property, sir.
00:02:39Downstairs.
00:02:41Very good, sir.
00:02:56No one will see us, Richard.
00:02:57Don't rush.
00:02:59What time is the train again?
00:03:00Down here.
00:03:05What time is it, James?
00:03:06And is it?
00:03:07It's nine o'clock.
00:03:08Don't worry.
00:03:10No, don't.
00:03:12When it's all over, then.
00:03:14You're the lady!
00:03:15James?
00:03:15You're the lady!
00:03:16You're the lady!
00:03:18What's happening?
00:03:21What's happening?
00:03:23Hey, hey, leave this woman alone.
00:03:25What's happening here?
00:03:26You're the lady!
00:03:28She's pregnant with another man's child.
00:03:36The husband wants justice.
00:03:37You can't!
00:03:38What are you going to do?
00:03:38You can't do it!
00:03:40Stop it!
00:03:41What are you going to do?
00:03:41Mary!
00:03:42No!
00:03:43Mary!
00:03:43Mary!
00:03:44Mary!
00:03:44Mary!
00:03:46Sister!
00:03:47Stop them!
00:03:47What are you going to do to her?
00:03:48Oh my God!
00:03:53Mary!
00:04:06Hey!
00:04:06All the way, please, please.
00:04:08Please, come along.
00:04:17Walter!
00:04:36Welcome to the Totaclia, monsieur.
00:04:39Merci.
00:04:39And may I inquire if you have for me any messages?
00:04:43You may.
00:04:47And...
00:04:47You do, monsieur.
00:04:49Merci.
00:04:54I don't...
00:04:56I'm so sorry, but I will have to cancel my reservation.
00:05:00I am called back to London, but immediately.
00:05:03Of course.
00:05:03And if you would be so kind as to book for me a passage tonight on the Orient Express.
00:05:08Of course, sir.
00:05:09Merci.
00:05:11Leave that alone.
00:05:12Leave that alone.
00:05:13I needed assistance, boy. I have asked for it.
00:05:24Hercule Poirot?
00:05:27Hercule Poirot, this is you.
00:05:29What are you doing in Istanbul?
00:05:32Monsieur?
00:05:32I...
00:05:33I travel from Palestine to London.
00:05:37So, uh...
00:05:38You will be traveling back on the Orient Express?
00:05:41Oui, tonight.
00:05:42So am I.
00:05:43I am the director of the line, you see.
00:05:47But...
00:05:47Pardon.
00:05:49Of course, it's monsieur Bou.
00:05:50Forgive me, now I remember.
00:05:52Of course you do.
00:05:53Monsieur.
00:05:53I am sorry, monsieur.
00:05:55This evening, the Calais coach on the Orient Express is fully booked.
00:05:58Is it?
00:05:58No, but I will travel tomorrow.
00:06:00No, no, no, no, no.
00:06:00There will be a birth for you, Poirot.
00:06:02We keep things back.
00:06:03There is always room.
00:06:05It is my business.
00:06:06And you will be fine.
00:06:11He's with me, he's with me.
00:06:14Good evening.
00:06:15I will be fine.
00:06:23Number eight.
00:06:25Frau Langschmidt, please.
00:06:27And you are in number 14, Princesse Tarkomerov.
00:06:39Merci, Michel.
00:06:40Je vous en prie.
00:06:41Hey, Michel!
00:06:43What's up, Subrook?
00:06:44It's such a pleasure to see you again.
00:06:47Ladies, I hear you are full up tonight.
00:06:50Yeah, it's incredible.
00:06:51The train is fully booked.
00:06:53The whole world is extra travel tonight.
00:06:54Well, this gentleman here is a personal friend.
00:06:59And he can have the number 16.
00:07:01But the first class is fully booked.
00:07:03Even what is held back.
00:07:04You're number one, of course, but I'm afraid I cannot...
00:07:07Sorry, good evening.
00:07:11Thank you, Ed.
00:07:12Number 11, Miss Debenham.
00:07:14Please.
00:07:16I'm Xavier Bouc, director of the line.
00:07:18C'est Hercule Poirot, you see?
00:07:20Le fameux Hercule Poirot, he's a famous man.
00:07:22The Hercule Poirot?
00:07:24Yes.
00:07:25And the company will not allow him to travel with the luggage.
00:07:34Can I help you, madam?
00:07:37Number 11?
00:07:39Ed's down the far end.
00:07:43Is it only me, or is it criminally hot in here?
00:07:47I think it might just be you, madam.
00:07:49Would you mind if we kept it shut?
00:07:50Has anyone seen who's trying to get on the train?
00:07:56I've been great tomorrow.
00:07:57There will be an extra coach from Athens, which is likely to be half empty.
00:08:01Is that not so, Michel?
00:08:02That is correct.
00:08:03So I can move compartment then.
00:08:05The only problem is with tonight.
00:08:07Is there no second class of three?
00:08:08I will travel tomorrow.
00:08:09It is not a problem.
00:08:11Am I not too late, am I?
00:08:13No, madam.
00:08:13It's just my connection with the lady because of snow on a tourist express.
00:08:19The snow is getting hard from the east, monsieur.
00:08:22It's awesome you're in birth, then.
00:08:27I always kiss my son, Christopher.
00:08:32I kiss for you too, monsieur.
00:08:33This Mr. Harris is not checked in.
00:08:36In birth seven?
00:08:37No, not yet.
00:08:38He's a friend of mine.
00:08:39Well, it's too late, madam.
00:08:40The barrier will be closed.
00:08:41But who are you to commandeer?
00:08:42Mr. Harris's birth?
00:08:44I'm sure he'll be arriving very shortly.
00:08:46It's just a little delay.
00:08:47Yes, I am the director of the Waggonic Company, madam.
00:08:50That is just who I am.
00:08:51Well, he's paid your company for a ticket, monsieur.
00:08:53That should be respected.
00:08:55Absolutely.
00:08:55And he will be able to contract without extra cost.
00:08:58I don't know, madam.
00:08:59Sorry, Mrs. Harbert.
00:09:00This is a scandal.
00:09:01That's what it is.
00:09:02No, no.
00:09:02A scandal would be if your friend were here and I didn't really mind.
00:09:06In America, it would be considered as such.
00:09:08No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
00:09:24You're settling, Mr. Ratchett.
00:09:35Yes?
00:09:37Mr. McQueen.
00:09:38What's going on?
00:09:39This is Mr. Poirot.
00:09:41He'll be staying here tonight and tomorrow he'll be moved to his own compartment.
00:09:44No.
00:09:44Oh, no!
00:09:46This is what has to happen, so this is what is happening.
00:09:50Monsieur?
00:09:54Excuse me.
00:09:57巧 cond browsing.
00:10:10Interview online.
00:10:15Check it out.
00:10:17Check it out.
00:10:18Check it out.
00:10:20Check it out.
00:10:22Check it out.
00:10:22Check it out.
00:10:23Check it out.
00:10:24Check it out.
00:10:24All right, your suitcase is too big, isn't there?
00:10:31No, no, no, no.
00:10:33I'm going to put it on the floor.
00:10:35All right.
00:10:45Monsieur McQueen, may Poirot rearrange some of your toiletries to make room for me?
00:10:52You must?
00:10:53Merci.
00:10:54I'm Antonio Foscarelli.
00:11:12Masterman.
00:11:13Pick a top bunk.
00:11:15I hope you don't mind.
00:11:18Mr. Ratchett requests your attention, if you will.
00:11:22I'll get there.
00:11:26No problem.
00:11:46Pardon, shoot.
00:11:48Cool.
00:11:49Excuse me, man.
00:11:50I've been calling you now for 10 minutes.
00:11:57And I said I was coming, sir.
00:12:08What's your name?
00:12:10Why are you asking?
00:12:12Well, Kelly is three days away.
00:12:15Long trip.
00:12:20Is that all right?
00:12:25Does it work?
00:12:27My name's Ratchet.
00:12:30Mr. Ratchet.
00:12:44Are you all right, mademoiselle?
00:12:46Yes.
00:12:49Yes, I'm fine, thank you.
00:12:50You're good for her.
00:12:56Mary Dupinam.
00:12:59I've been, I've been teaching in Persia for no more way home.
00:13:05Yes, I saw you this afternoon in the streets of Istanbul.
00:13:09You saw that?
00:13:10Why?
00:13:13Well, you are not too distressed by what happened, I hope.
00:13:15Yes, of course I am.
00:13:17In distress I could do nothing to help, aren't you?
00:13:22For me, yes, sure, but justice is often upsetting to witness.
00:13:29Justice?
00:13:30It's like the girl who's in England, no?
00:13:31I mean, but in another culture, it is best not to intervene.
00:13:37The woman was adulterous.
00:13:38She had not killed anyone.
00:13:39No, but she had broken the rules and she knew what that would mean.
00:13:43What is it you do, monsieur, if you don't mind me asking?
00:13:46I also found it upsetting, huh?
00:13:54It is not pleasant.
00:13:55I am a detective, I'm a loser.
00:14:13In the police?
00:14:15No, private.
00:14:18Private detective.
00:14:21Hercule, paro?
00:14:23Very good.
00:14:26Very good.
00:14:27Can I do for you, sir?
00:14:50Shut the door.
00:14:59I need to know the people on this carriage, whatever you know about them.
00:15:02Where they're going, where they're from.
00:15:05I'm sorry, sir, but company police...
00:15:06Shut up!
00:15:10What do you know about them, boy?
00:15:11Yes, of course.
00:15:38Madame, you'll change.
00:15:41No, no, no, what's this?
00:15:42What's a drachma, apart from a way of clearing your throat?
00:15:46My daughter, who...
00:15:47Poirot, Poirot, no, no, no, no, no.
00:15:50Come here, my friend.
00:15:52Please.
00:15:53It's the director's table, you know.
00:15:58The country changes, you won't be able to spend any of it.
00:16:00Please.
00:16:01This is a Greek fellow called Constantine.
00:16:03How are you doing?
00:16:04And he's, um...
00:16:05What are you again?
00:16:07I'm a doctor.
00:16:08An obstetrician.
00:16:09That's right.
00:16:10I've been in Ankara, now I go back to America.
00:16:14Hercule, paro?
00:16:16Monsieur, paro, how do you like your eggs?
00:16:20Two boiled and exactly the same size.
00:16:23We are playing a game, Poirot, and you'll like this.
00:16:28Where, apart from my train, my transcontinental train,
00:16:33would you find, um, Hungarian diplomats,
00:16:38Count and Countess Andrei, wealthy American businessman.
00:16:42Don't look, it's rude.
00:16:44A Russian princess, being looked after every step of the way
00:16:49by her mid-servant.
00:16:50Please, which is made with pasta
00:16:53and no more cooked than 30 seconds.
00:16:58Italian bachelors.
00:17:00Monsieur Paolo.
00:17:00Young missionary women from Scandinavia.
00:17:05Merci.
00:17:05Les Belges.
00:17:08Um, English stiff people.
00:17:11All nations, all classes,
00:17:14and everything that goes in between,
00:17:17eating and sleeping, under one roof.
00:17:19Oh, Poirot, he would suggest...
00:17:23America.
00:17:26Absolutely.
00:17:27The great melting pot.
00:17:29It took Constantine four guesses.
00:17:32And even then, I had to tell him the answer.
00:17:34That is not true, monsieur.
00:17:35No, no, no, no.
00:17:36Michel, Michel, champagne.
00:17:39And he lives there.
00:17:40Champagne for everyone.
00:17:42With compliments of the Waggonie Company.
00:17:45Um, ladies and gentlemen,
00:17:46please, have a safe journey,
00:17:48and, uh,
00:17:49and to your good health.
00:17:50Do you believe in God, Mr. Poirot?
00:18:18I never used to,
00:18:21but I do now.
00:18:26I think he's like an extra gun.
00:18:28An extra piece of protection.
00:18:32And I think we all need some
00:18:33extra protection sometimes, don't we?
00:18:36You're going to take a job on for me.
00:18:46Why do you need protecting on this train?
00:18:49Because there are people who know where I am,
00:18:51what I'm doing.
00:18:53And what is that?
00:18:56Penance.
00:18:56I need to give something back
00:19:00before I'm forgiven.
00:19:03Or I could be killed before I do it.
00:19:07By whom?
00:19:08I'm a rich man, Mr. Poirot.
00:19:10I have enemies.
00:19:12But I need to get to Cali.
00:19:15You start now.
00:19:17No.
00:19:18No.
00:19:18No.
00:19:18No.
00:19:26I do not play poker with you, monsieur.
00:19:44No.
00:19:45I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play poker, but I do not play
00:20:15Oh, my God.
00:20:30Is this my great muscle?
00:20:32Yes, it is. It is also very cold.
00:20:34And I think I will get back on the train, if I may.
00:20:36Oh, I thought you were getting up here.
00:20:37No, no.
00:20:38I'm sorry, I'm sorry.
00:20:40What are you doing?
00:20:42I'm sorry.
00:20:44You saw the conductor moving in Belize.
00:20:46Yes, because from tonight I have my own compartment.
00:20:49Monsieur Provo, compartment number one is now ready for you, sir.
00:20:52Thank you, Michel.
00:21:08Do you leave this on my bed?
00:21:17Did you leave this on my bed?
00:21:19No, sir. What is it?
00:21:21What it is is of no importance.
00:21:24Did you leave this compartment unlocked and unattended at any time today?
00:21:28No, sir.
00:21:29No, sir.
00:21:34Neither of you are going to take any responsibility for this.
00:21:36Neither of you were aware that anyone was trying to break into my compartment today.
00:21:42So what do I pay you?
00:21:45Get out.
00:21:48McQueen?
00:21:53Get out.
00:21:59Was it another threatening note?
00:22:01Of course it was.
00:22:03Is there a problem?
00:22:06No.
00:22:09Mr. McQueen.
00:22:12Would you like a drink?
00:22:15Yes.
00:22:16I can do with a drink.
00:22:17Now go with a drink.
00:22:18Lord, I want you to thank me for being created, but for being created in the Catholic Church.
00:22:48Pardon me, for all evil I have done this day.
00:23:02Watch over me while I take my rest, and deliver me from danger. Amen.
00:23:13Amen.
00:23:15Don't go down there!
00:23:43Don't go down there!
00:24:02Mr. Ratched.
00:24:05Mr. Ratched, is everything all right?
00:24:07It's nothing.
00:24:09Je me suis trompé.
00:24:39Je me suis trompé.
00:25:09Je me suis trompé.
00:25:39Je me suis trompé.
00:25:41Je me suis trompé.
00:25:47Mrs. Hubbard, I assure you, no one was in your compartment.
00:25:52How do you know that? Were you here?
00:25:57Yes, Mrs. Hubbard. Good night.
00:26:02Michel.
00:26:04Another bottle of mineral water, see who played?
00:26:06Yes, sir.
00:26:07And, Michel, is everything all right?
00:26:09It's Mrs. Hubbard.
00:26:11She's a fantasist.
00:26:13She thinks men are after her.
00:26:15Blind men, if you ask me.
00:26:17And, Michel, the train does not move.
00:26:20Oh, no. We have hit a snowdrift.
00:26:23Once we were stranded for nine days.
00:26:25But hopefully not this time, not for us.
00:26:27Bye.
00:26:47I'm going to die.
00:26:58I'm going to die.
00:27:01I'm going to die.
00:27:03Do you know where we are?
00:27:33Mr Poirot, are you there?
00:27:40One minute, if you please.
00:27:42Mr Poirot, please.
00:27:46One minute, if you please.
00:27:48You must come.
00:27:49I said one minute.
00:27:50You must come now.
00:27:52Please.
00:27:53I thought we would need a doctor as well.
00:27:55I brought him his pick-me-up, sir, at the usual time, but when he failed to respond, I became
00:28:00concerned.
00:28:01Has anything been touched?
00:28:21No.
00:28:22Michel, has anything been touched?
00:28:24No, monsieur.
00:28:29Doctor.
00:28:30Well, we are in Yugoslavia and this is not a good place to have a problem.
00:28:49This is the backside of Europe.
00:28:50This is the wild west.
00:28:51Another carriage full of civilized, intelligent, beautiful people who spend money and will
00:28:56not want to be delayed here by a brutal police.
00:28:57And they will delay them.
00:28:58Forever.
00:28:59He has been stabbed.
00:29:00Maybe fifteen times.
00:29:01In a frenzy.
00:29:02This is a disaster.
00:29:03To how long has he been dead?
00:29:04Maybe seven or eight hours.
00:29:05Twelve, one o'clock.
00:29:06If the door was bolted, then that is how the killer must have left.
00:29:09Paul, on behalf of the Vagoni Company, please send this out for me.
00:29:10It should be left to the authorities.
00:29:11No.
00:29:12No, no, no, no.
00:29:13The police here.
00:29:14They will not be in your class.
00:29:15When we get to abroad, let the world famous detective, the genius, and the police get
00:29:18to the police.
00:29:19You?
00:29:20The police here.
00:29:21There will not be in your class.
00:29:22You?
00:29:23No, no, no.
00:29:24No, no, no.
00:29:25No, no, no.
00:29:26No, no, no.
00:29:27That's a very good place.
00:29:28No, no.
00:29:29No, no, no, no, no.
00:29:31No.
00:29:32No, no, no, no.
00:29:33No, no, no.
00:29:34No, no, no.
00:29:36No, no.
00:29:37No, no, no.
00:29:38No, no, no.
00:29:39No, no.
00:29:40No.
00:29:41No.
00:29:42No.
00:29:43detective the genius tell the police what happened and there will be minimum delay because no one
00:29:50is going to want to travel on my train when they hear they'll get murdered in their bed
00:29:54it's my business
00:29:56where were the passengers present this morning
00:30:14merci
00:30:26michel how do the passengers have breakfast
00:30:34not encore monsieur not yet
00:30:37and he's for right in assuming that the cali coach at night it is made secure
00:30:44oh yes absolutely absolutely there is no way anyone could have got through to this coach
00:30:49from another part of the train good well keep it locked no one in and no one out
00:30:55the time he will stop at the snowdrift was what two o'clock
00:31:02because the murderer he did not leave by this window as they hope to suggest
00:31:08how do you know because there are no marks in the snow
00:31:12so the murderer must still be with us gentlemen at the train
00:31:21princess dragomirov
00:31:33all the passengers have been summoned to the lounge car if you please
00:31:36immediately
00:31:37monsieur bouc
00:31:39i wish to make a complaint
00:31:41i will be of assistance to you in the lounge car but not here madame
00:31:44i don't want assistance i want to kick someone up the ass
00:31:46how long are we going to be stuck here
00:31:48until the snowplow arrives digs us out and
00:31:51and i have no idea yet when that will be
00:31:53only god knows that answer
00:31:55i wish he'd stop keeping it to himself
00:31:5822-1
00:32:02as i thought
00:32:03you said there are 15 stab wounds dr constantine
00:32:08yes
00:32:08well paro can count only 12 unless there are some others on his back
00:32:12no no
00:32:13so uh the murderer must have crept in yes and
00:32:17stabbed and stabbed with all his might
00:32:20you are not a police surgeon are you
00:32:21no what are you you are
00:32:23an obstetrician
00:32:24you see some of these are just scratches delivered with little force
00:32:30but here and here delivered with strength
00:32:34these are the ones who killed him doctor
00:32:36princess drachomirov please
00:32:39my lady is not dressed monsieur
00:32:49i apologize but you must come to the lounge car now princess
00:32:53what is the problem monsieur
00:32:54i'm waiting for you outside
00:32:56oh
00:32:58if i stand here as the murderer
00:33:03i find the wounds
00:33:05some of them they have
00:33:06an angle
00:33:07that is suited to my right hand
00:33:09so and but others
00:33:11you see
00:33:12impossible
00:33:13they need my left
00:33:16we have
00:33:18a left
00:33:19we have a right
00:33:21we have a weak
00:33:23and we have a strong
00:33:25so is ratchet trying to tell us
00:33:26that he was murdered by two people
00:33:29he knew he was vulnerable he knew he had to be on his guard
00:33:46please
00:33:53please
00:33:53please
00:33:54sit down
00:33:55well ladies and gentlemen
00:33:59i have to tell you that
00:34:01last night
00:34:03one of your fellow passengers
00:34:05mr ratchet
00:34:05was
00:34:07was murdered
00:34:09murdered
00:34:11yes
00:34:12the detective
00:34:13hercule poirot believes
00:34:15that the murderer
00:34:16is still on the train
00:34:18with us
00:34:18so please
00:34:20so we have sealed the calicoche
00:34:22and we request
00:34:23you do not try to leave
00:34:24of course monsieur paul
00:34:25will be wanting to interview you all
00:34:27how has it mattered
00:34:28with a knife
00:34:31and what is that
00:34:34huh
00:34:39the letter h
00:34:42ah
00:34:44well maybe poirot believes this
00:34:46in the ash
00:34:48you see
00:34:49the flat matches
00:34:50and
00:34:50here there is the flat match of ratchet
00:34:53but here is a match made of wood
00:34:54and the piece of paper that he's burned
00:34:56so
00:34:58so perhaps poirot he is correct
00:34:59when he suggests
00:35:00that the match made of wood
00:35:01it was struck by someone else
00:35:03and the piece of paper was burned
00:35:05because it was in some way
00:35:07incriminating
00:35:08ladies and gentlemen
00:35:14monsieur poirot would like
00:35:16one of you ladies
00:35:17to lend him a hat box
00:35:18merci
00:35:31merci
00:35:31my old grandfather had one of these
00:35:41for the wax moustache also
00:35:43now if this piece of paper
00:35:48that he's burned
00:35:49is indeed incriminating
00:35:53and i'm going to try to resurrect what was written on it
00:36:00then i'm going to try to resurrect what was written on it
00:36:02easy arms
00:36:08what does it mean
00:36:09What does it mean, A-A-C, A-Z?
00:36:20A-Z-Arms.
00:36:21Merci.
00:36:22I think it's nonsense, isn't it?
00:36:25All right.
00:36:26It doesn't mean anything.
00:36:28I do not know yet.
00:36:30Well...
00:36:34Here are the passengers' passports to request, monsieur.
00:36:43Merci, Michel.
00:36:44Oh, Michel, if you please remain and talk to me about last night.
00:36:48Hey, don't worry, sit down.
00:36:51Poirot, Michel is not involved.
00:36:53Since his wife died, he is married to the company.
00:36:55He is our hardest worker.
00:36:57Michel, your wife, how did she die?
00:36:59Out of grief.
00:37:04My daughter died and my wife followed.
00:37:08When was this, Michel?
00:37:09Well, it wasn't last night, was it?
00:37:12Leave the poor man alone.
00:37:14It was a few years ago.
00:37:15Tell us of last night, Michel.
00:37:18Well, we stopped at Pinkovci a little late, quarter to twelve.
00:37:25Did you get up that train?
00:37:27Yes, for a chat, but it was so cold, I didn't stay.
00:37:31Did anyone else get off the train from the Calais coach?
00:37:34Yes.
00:37:35Mr. McQueen and the colonel Abraff thought.
00:37:38But again, they do not hang around.
00:37:40And afterwards, they were talking politics in the colonel's compartment
00:37:44until two in the morning.
00:37:48And then, Mr. Ratchet cried out at about half past twelve.
00:37:56I really thought he was just having a nightmare.
00:38:03And then, um, 2.15, Mrs. Hubbard?
00:38:07He was hovering over me like, like the angel of death.
00:38:12You remember, Monsieur?
00:38:14Yes, of course.
00:38:16Michel, did you see later a woman in a red kimono?
00:38:19Oh, yes.
00:38:20At maybe 2, 2.30.
00:38:22I didn't see who she was because she was walking away from me.
00:38:26And from which compartment did she come?
00:38:29I didn't see.
00:38:31Well, she did not perhaps return from, what, the toilet?
00:38:34No.
00:38:43Merci.
00:38:44Merci, Michel.
00:38:45Okay.
00:38:46And next time you request a transfer to the Calais coach, I'm sure it won't be so dramatic.
00:38:52For this trip, you request a transfer?
00:38:55A former colleague of mine lives in Calais. I was to visit him.
00:39:00Yes, Michel normally does the Paris coach.
00:39:06Bien.
00:39:07Monsieur.
00:39:09Did you like your employer?
00:39:12Oh, I do not find it necessary to like an employer.
00:39:15Oh, but I do.
00:39:18Did you know that he offered to me a job?
00:39:20And I did not like him.
00:39:22Was he, in your opinion, a gentleman?
00:39:24Nothing of the kind.
00:39:25But he had money.
00:39:26Put a sewer rat in a suit, and he's still a sewer rat.
00:39:29He's just in a suit.
00:39:35Hey, alors, last night you shared your compartment with Signor Foscarelli.
00:39:39And, er, did you stay there all night?
00:39:43I read until 4 in the morning.
00:39:45Because it was a good book, huh?
00:39:47Because of toothache.
00:39:49So, you know for a fact that Signor Foscarelli, he did not leave the compartment either last night?
00:39:55No.
00:39:56He snored.
00:39:57Does this mean anything to you?
00:40:04Is it an arms firm? Was it an arms dealer?
00:40:10I don't know the name of that firm.
00:40:12Well, I met Mr. Ratchet when I was on my uppers in Iraq. We call it now, don't we?
00:40:26He needed a personal assistant who was good with languages, which I am, and he paid well.
00:40:41And he could not speak the languages?
00:40:43Not a word.
00:40:44A little pigeon Italian, which even Italian pigeons would have found hard to understand.
00:40:49And where in America was his home?
00:40:52He never spoke of it.
00:40:54He was thinking of buying in Napoli, but, well, I don't know whether he'd have been allowed to go there.
00:41:00Allowed?
00:41:02I don't delude myself by thinking Mr. Ratchet was not on the run.
00:41:07From something dark in America that he wasn't trying to buy his way back into society.
00:41:14He didn't know that I kept these.
00:41:19Or that I knew we were going to Calais to pay that money back.
00:41:23To whom?
00:41:26Underworld, Mafia.
00:41:28But they've set him up, haven't they?
00:41:31Smoked him out onto the train with the money and settled his debts in the night.
00:41:35How much was in the suitcase?
00:41:38Over $200,000.
00:41:42I stayed in his employment because I needed money to get home.
00:41:46The name Ratchet did this in alias.
00:41:48You're pleased to follow me.
00:41:51$200,000?
00:41:52A penance.
00:41:53He told to me.
00:41:57Something dark in America?
00:42:00From where he is ostracized, huh?
00:42:02$200,000?
00:42:04Blood money?
00:42:05For which he had to atone?
00:42:13What?
00:42:14Don't worry.
00:42:18This is not Samuel Ratchet.
00:42:20This is like Franco Cassetti.
00:42:23Who, for $200,000, kidnapped so notoriously from the home of her parents in Long Island, New York.
00:42:31The young child, Daisy Armstrong.
00:42:37This devil came for her.
00:42:50Someone in the house tried to stop him, but they were hurt very badly.
00:42:55Her parents paid the rents of money, but young Daisy Armstrong, she never returned home.
00:43:10She had died lonely, scared at the hands of Cassetti, less than one hour after he took her.
00:43:25And after this discovery so terrible, Sonya Armstrong went into premature labor with the second baby she was carrying, and where this baby did not live.
00:43:40And neither did she.
00:43:43And neither did she.
00:43:45Colonel Armstrong, his heart, now broken beyond repair, could not bring himself to face another morning.
00:43:52So four deaths at the hands of Cassetti.
00:43:55But no, no, pardon, five.
00:43:58Because the housemaid, who was French, I think, and whom the police were convinced had knowledge of this crime, but was innocent, had also taken her own life in the police cell.
00:44:07Cassetti was arrested, but his mafia family in Chicago had the prosecutors and judges in their pockets, and evidence it was misplaced.
00:44:19And Cassetti, he walked away free.
00:44:28Excuse me, but isn't anyone going to interview me about the events of last night?
00:44:34I happened to have seen the murder.
00:44:38Quoi?
00:44:40Ladies and gentlemen, please, first, I really want to apologize for the lights, but we are saying to it now.
00:44:48In the meantime, um, Scarlett negligee is key to solving the murder.
00:44:55Neglige?
00:44:56So, so, I will need all your suitcase keys, please.
00:45:00Poirot has just identified Samuel Ratchett as Lanfranco Cassetti.
00:45:09Yes.
00:45:11Yes, that's right, brother.
00:45:13The notorious murder.
00:45:15And I, I don't know what to do.
00:45:16What do you mean, Mr. McQueen?
00:45:17My father was the DA in the Cassetti case.
00:45:23He was the prosecutor.
00:45:24There is a link now between my name, McQueen, and the murder.
00:45:29It's only a matter of time before Poirot remembers this from the papers.
00:45:32He has an encyclopedic knowledge of Cassetti's crime.
00:45:35So, uh, you knew Cassetti?
00:45:39But you didn't recognize him when you worked for him, did you?
00:45:41And the detective is going to believe that?
00:45:43It is the truth.
00:45:45Is that not right, Monsieur Bouc?
00:45:48Oh, yes, yes.
00:45:50Absolutely right.
00:45:52Poirot is all about the truth.
00:45:53I was lying there.
00:45:57Uh, lie here, like me, Dr. Constantine.
00:46:00Okay.
00:46:01Lie down.
00:46:05Now, open your eyes.
00:46:08He was standing here, a dark figure, 2.15 in the morning.
00:46:13Could you make out his face?
00:46:15I couldn't.
00:46:17Then how do you know it was a man?
00:46:19If you've lived the life I have, Inspector, you know when there's a man in your bedroom.
00:46:23Do you know what I'm getting at, Doctor?
00:46:24Yes, I do.
00:46:25What happened next?
00:46:27I, uh, closed my eyes and pressed for the conductor.
00:46:30And your visitor, where did he go?
00:46:32He went back through here.
00:46:40Madame, why is it that you had not bolted the door between your compartment?
00:46:44I had.
00:46:45I had.
00:46:48Madame Hammond, in your life in America, were you acquainted with the family of the young Daisy Armstrong?
00:46:54I'd heard of their tragedy, of course, but they were of the highest society, and I am not.
00:47:00I am not.
00:47:01No.
00:47:03This man is the man who murdered Daisy Armstrong.
00:47:10Wow.
00:47:12If I'd known that, then like any American mother, I'd have ripped the bastard's heart out.
00:47:17Pardon my French.
00:47:18It is indeed a French one.
00:47:20What's this?
00:47:22It's a button.
00:47:28From a conductor's uniform.
00:47:31What is it doing here?
00:47:32If, if Michelle is not missing a button, then it must be-
00:47:38It certainly wasn't here yesterday.
00:47:39Well, then it must be the assassins, surely.
00:47:45Maybe, maybe he could have got out on Advin Kovci.
00:47:50Yes, yes, disguised as a conductor.
00:47:53Then into Mrs. Hubbard's compartment with a stolen Pears key,
00:47:58and left in the kimono.
00:48:02He got all this from a button.
00:48:04Well, we know Cassetti was alive at half-past twelve,
00:48:07because he called out to Michel,
00:48:10No, no, no.
00:48:11Monsieur Cassetti, he could not speak French,
00:48:12which is why Monsieur McQueen worked for him.
00:48:14Brilliant, brilliant, Monsieur.
00:48:15So that must have been the voice of the assassin,
00:48:17which fits with the watch and the time of death.
00:48:19No, but there were at least two mothers.
00:48:22Well, he, he could have just stabbed like a crazy man.
00:48:27Left hand, right hand, it is all coming together in my mind.
00:48:30I'm very pleased for you, Monsieur.
00:48:32This is the mafia, the mafia for sure. The knife, it is the Italian way.
00:48:44They want the money, and there will be a thing about revenge for some reason.
00:48:47It makes sense.
00:48:48Of course it doesn't.
00:48:49Let me ask you something.
00:48:52Who is Italian on this trade?
00:48:54Who has been in America?
00:48:58Signor Foscarelli.
00:48:59So you share with Mademoiselle Devin, I mean, birth ten and eleven?
00:49:03Yeah.
00:49:04That English woman does not pray.
00:49:09I prayed. She needs to pray.
00:49:12Neither of you left the compartment last night?
00:49:14No.
00:49:15You have been to America?
00:49:16Yeah.
00:49:17America.
00:49:18That is right.
00:49:19To work?
00:49:20To speak.
00:49:21For Jesus.
00:49:22To raise funds for the mission in India.
00:49:23Of course.
00:49:24To help the children.
00:49:25Well, the money.
00:49:26It has either been spent, which I can assure you it hasn't, or it's not only...
00:49:40Si vous plait, mademoiselle, you are Catholic?
00:49:48Oh, no.
00:49:49I prayed for Catholics, because they have it all wrong, don't they?
00:49:54Miss Olsen.
00:49:55In what way?
00:49:57The Catholic penance and forgiveness is false, isn't it, Monsieur Borou?
00:50:02Because there are certain things that God will never forgive?
00:50:12Yeah.
00:50:16Like when you violate his law?
00:50:19Yeah.
00:50:22Violence against children?
00:50:25Violence against the children.
00:50:28This man who is dead, maybe God came last night on this train and refused to forgive him.
00:50:42You have been religious for a long time.
00:50:49I saw Jesus, who protects me now, as I protect the children.
00:50:58Five years ago.
00:51:06Five years I have been with him.
00:51:13And I'm sure he's enjoyed every moment.
00:51:16Well, Poirou, no money, no satin negligee.
00:51:22Unless the princess Dragomirov was negligee, which I think unlikely.
00:51:26Don't you, Doctor?
00:51:27I do.
00:51:28Kimono.
00:51:29Have you seen the outfit she's wearing today?
00:51:32It's enormous.
00:51:34She waddles down the corridor like the battleship Bismarck.
00:51:38However, I know who did the murder.
00:51:41This cassetti trial, it must have brought the press, the FBI, down heavily on the mafia, hurt their interest, which they hate.
00:51:52So they put one of them on the train, give him a knife and get pay back.
00:51:59Signor Foscarelli.
00:52:02Signor Foscarelli.
00:52:05How unfortunate then that the English valet has the toothache and knows that Signor Foscarelli did not leave his compartment all night.
00:52:12On the night of the murder, Monsieur.
00:52:17My maid read to me until 11 o'clock.
00:52:20And you slept through till the morning?
00:52:22No.
00:52:23At 20 to 1, I rang for the conductor to call Fraulein Schmidt, as I had not settled.
00:52:29And I requested a massage.
00:52:34I left her asleep at half past two.
00:52:37I gave my lady a massage and read more Goethe.
00:52:40And you did not hear anything untoward in the carriage?
00:52:42That is correct.
00:52:44Princess Dragomirov, were you acquainted with the family of Daisy Armstrong?
00:52:53Yes.
00:52:54My lady.
00:52:55Hildegard.
00:52:56Please.
00:52:57Leave.
00:53:03I stayed many times at the Armstrong house on Long Island, as I was privileged to be the godmother of Daisy's mother, Sonia.
00:53:12Sonia was the daughter of the great tragic actress Linda Arden, of whom I had been an admirer for many decades.
00:53:19If my memory is correct...
00:53:25Linda Arden, it was her stage name.
00:53:28Well, taken from the Shakespeare.
00:53:31So, what was her actual name?
00:53:33The name...
00:53:35was Waterston.
00:53:37Ah, yes, I am remembering.
00:53:39Now, Linda Arden, she had two daughters.
00:53:42Sonia Armstrong.
00:53:44And also a younger daughter?
00:53:46You are correct.
00:53:47Do you know what happened to this younger daughter?
00:53:50She married someone...
00:53:52somewhere.
00:53:54I do not know what happened to her.
00:53:59You know it is Lemfranco Cassetti who has been murdered.
00:54:01Monsieur, if I had recognized that man, do you know what I should have liked to have done?
00:54:14I should have liked to have called my servants, flogged this man to death and throw him on the rubbish heap.
00:54:19That is what was done with such a man when I was young, Monsieur.
00:54:25Make no mistake.
00:54:27I would have stabbed him as he slept.
00:54:30I am proud to confess.
00:54:31I am proud to confess.
00:54:39Monsieur.
00:54:44Whoa.
00:54:45Whoa, you think she did it?
00:54:47No, that woman was frail, she would not have the strength to stab her.
00:54:50Monsieur Fosquarino, I hear talk with him.
00:54:53I hear talk with him after you've been responsible.
00:54:56Yes, yes, that's true.
00:54:57I was talking to the gentleman.
00:54:59Mansoor, not all Italian-Americans are mafios.
00:55:02Most of us spit him.
00:55:04I'm in a motor train.
00:55:05I'm a good salesman, but it's hard to be trusted when you're Italian.
00:55:08Men like Cassetti, they make people hate us.
00:55:11Sorry.
00:55:13If these gangsters are involved,
00:55:16get to not mess with them.
00:55:17Understand me?
00:55:19For they are ruthless to anyone.
00:55:21Anyone who crosses them, and you are no exception.
00:55:23Understand me?
00:55:24Is that a threat?
00:55:27It is a price.
00:55:30Mansoor.
00:55:33Merci.
00:55:36Come in.
00:55:37How dare you to tell, Monsieur Poirot?
00:55:39The water.
00:55:42The water is not working.
00:55:44I wasn't threatening anybody.
00:55:46What is happening?
00:55:47Framme Henschmidt, does this belong to your lady?
00:55:53No.
00:55:55She's Natalia.
00:55:57It's her style, but not her initial.
00:55:59Merci.
00:56:00And tell me, if you please,
00:56:02were you also the frequent visitor to the Armstrong house in Long Island?
00:56:05Yes.
00:56:06No.
00:56:07I knew the Long Island home,
00:56:09but I've worked at an adjacent property in another family.
00:56:13That was how I met my lady.
00:56:15And you are a good cook, huh?
00:56:16Yes.
00:56:17All my ladies have said that.
00:56:23No.
00:56:25I'm a maid.
00:56:28Forgive me, but you appear to be more expert in the food.
00:56:31...which is made with parsley and no more cooked than 30 seconds.
00:56:36No, I'm a lady's maid.
00:56:39The reason, the reason I'm so nervous, Monsieur,
00:56:43and get things wrong is that I saw the murderer.
00:56:47I saw him with my eyes when I finished my lady's massage.
00:56:52I came out of the compartment and passed a lady in a kimono,
00:56:57but she had a man's face.
00:56:59I also saw her, and, um,
00:57:01but she looked like a woman from the back.
00:57:03No, a man.
00:57:06Ja.
00:57:07So, when did you see him?
00:57:09Because I didn't notice you when I saw him.
00:57:12Um, at 2.30.
00:57:15And can you describe him?
00:57:17He was small, round, and dark.
00:57:23And when I heard his voice, as he said,
00:57:25pardon, it was a woman's voice.
00:57:28Weak, like a woman.
00:57:36There is no power, no power at all, and it will be minus nine degrees tonight, and they cannot get here with the plow until the morning.
00:58:05What are you doing?
00:58:07How will you cook food?
00:58:09Hey.
00:58:10How will we stay warm?
00:58:11All his buttons are here, and sewn with old threads, so this button must have come from her second uniform, Poirot.
00:58:17Well, so who do you want me to call now? Miss Debenham?
00:58:22No, no, no, no. Not Mademoiselle Debenham. Not yet.
00:58:29Last night, Count Andreni, I saw you and your wife trying to disembark at Belgrade.
00:58:34My wife can be claustrophobic. It is difficult for her on the train.
00:58:39Have you suffered a crisis during the night, Countess?
00:58:42No. Last night, she took a draft of Trianel. My word of honor.
00:58:50I did not question your honor.
00:58:52I am afraid, Poirot, neither of us can be of use to you in this sad investigation.
00:58:57Have you ever gone to an American contest?
00:58:59No, Monsieur.
00:59:00Have you ever gone to an American contest?
00:59:01No, Monsieur.
00:59:02Have you ever gone to an American contest in Washington?
00:59:05We have only been married for one year.
00:59:08I spent two years in Washington at a posting to the Embassy.
00:59:12You were there five years ago, I see.
00:59:15Yes.
00:59:16I remember the Armstrong murder in the papers, if that's what you're alluding to.
00:59:23So this part of Greece is a result of an official who is callous, huh?
00:59:38Why does she have to write her name?
00:59:48S'il vous plaît, as it appears in the passport.
01:00:08Well, it's fine, I have been Tatiana.
01:00:11I'm sorry, we're all going to leave her name for the book.
01:00:16And the book has taken you in the book that he has taken me to.
01:00:21Is that what you said?
01:00:22That's how long you lose her life?
01:00:24No.
01:00:26It's beautiful, but it's not okay.
01:00:39Doctor, what is the latest?
01:00:43The German maid said she saw the murderer.
01:00:46Gave Poirot a description.
01:00:59Why have you not yet questioned me, Monsieur?
01:01:02Mademoiselle, why do you and Colonel Lapas not pretend not to know each other when it was quite clear in Istanbul that you were intimate?
01:01:11No, don't. When it's all over, then.
01:01:15When what was all over, huh?
01:01:17Hm? What?
01:01:19I am not at liberty to say.
01:01:21Oh, liberty.
01:01:23Mademoiselle, you will give me a good answer.
01:01:27When the Yugoslav police arrive, you will not be at liberty.
01:01:32Now give me an answer.
01:01:34I am not at liberty to tell you.
01:01:37Mademoiselle, do not cross me.
01:01:39A murder has been committed and I have seen you behaving suspiciously both before and after the crime took place.
01:01:45Leave her alone.
01:01:46John.
01:01:47Sir.
01:01:48Terry, sit down.
01:01:50Colonel Lapas not. Maybe you can explain what was meant by her words.
01:01:54I met Miss Debenham in Baghdad.
01:01:56She was the governess in a house of an AOC, a friend of mine.
01:01:58And you fell in love?
01:02:00Yes.
01:02:01What is it with these men who go around falling in love with the staff?
01:02:04Will you shut up?
01:02:06Why the secrecy?
01:02:08I am currently suing my unfaithful wife of twenty years for divorce.
01:02:13In English law, if she sees me with another woman, then she can sue me.
01:02:18I don't believe I am telling you people this.
01:02:22If that happens, I will lose my house, my reputation, my commission.
01:02:28When it's all over, Miss Debenham said.
01:02:32When the divorce is all over.
01:02:35When that is behind us.
01:02:41Colonel, in all your years of service, did you know Colonel Armstrong, father to the young Daisy Armstrong?
01:02:50By reputation, yes.
01:02:52He was a fine man.
01:02:56Military cross.
01:02:58Passchendaele.
01:03:00You listen, Poirot.
01:03:02By all accounts, this man deserved to die last night.
01:03:05But I would have been happier if he'd been convicted by a jury.
01:03:08I see.
01:03:09Twelve good men and true?
01:03:12The civilised way.
01:03:14Oh, I've moved the little guys too from the galley to the lounge and...
01:03:40Well, I propose we should stay there for the night.
01:03:43Well, gather them all there.
01:03:46Monsieur Book, I have been thinking of the theory of Doctor Constantine.
01:03:51Of the assassin who got on disguised as the conductor.
01:03:54Yes, I think of it, yes.
01:03:56And the uniform of his conductor must have been discarded somewhere.
01:04:01Of course, yes.
01:04:02And Poirot, he thinks he knows where.
01:04:05It must be amongst the possessions of the one person he could not possibly be.
01:04:10The witness who says she saw the assassin.
01:04:12The assassin.
01:04:13Fräulein Schmidt.
01:04:14Do you have the button here, love?
01:04:15Oh, yes, please.
01:04:16Oh, please keep watch.
01:04:17Do you have the button here, love?
01:04:18Oh, yes, please.
01:04:20Oh, please keep watch.
01:04:22Oh, please keep watch.
01:04:23Oh, yes, please keep watch.
01:04:25Oh, yes, please keep watch.
01:04:27Oh, yes, please keep watch.
01:04:29Oh, my God.
01:04:30Oh.
01:04:31You hear me?
01:04:32Oh, yes, please keep watch.
01:04:33Oh, yes, you can see one.
01:04:35What actors think from thelinikius?
01:04:36Oh, yes.
01:04:37In that film, you're lucky.
01:04:40What happens?
01:06:26Monsieur, I found this in my sponge bag.
01:06:30It's certainly the kind of knife that would have made the wound.
01:06:35What?
01:06:36He must have hidden it in my sponge bag when he passed through my compartment.
01:06:41That must be the case.
01:06:43I think it's proper to save my conclusions for the police at Brown.
01:06:50But when I sleep, I see his face.
01:06:55I can't keep his face out of my mind.
01:07:01Mary, please.
01:07:02It's all right.
01:07:03She sees the face of the man she saw last night.
01:07:05The murderer.
01:07:06The murderer.
01:07:07Full of anger.
01:07:09Like, like he wants to kill you.
01:07:11It's his face.
01:07:12Was he still wearing his red kimono?
01:07:15Well, this murder, it would have been perfect, huh?
01:07:20If it had not been for the snowdrift.
01:07:23Is that not so for a man, Schmidt?
01:07:26I think that there are two solutions to this murder.
01:07:40In the first, the Mafia assassin gets on the train of Vinkovci.
01:07:45Offered Broad with the money.
01:07:46Cassidy killed.
01:07:48But one or two of you noticed a different conductor in the corridor.
01:07:52Notified the police.
01:07:54But the assassin would have gone.
01:07:58Vanished.
01:08:00But because of the delay,
01:08:03there had to be an improvisation.
01:08:07And so a second solution proposes itself...
01:08:12to me.
01:08:21Elena Wasserstein.
01:08:24With a carous smudge on Elena.
01:08:30Oui.
01:08:33Cébrien, mon nom.
01:08:34Enough, huh?
01:08:35Because maybe...
01:08:45Maybe Poirot should not be looking at your first name.
01:08:48But your second.
01:08:51Countess Wasserstein.
01:08:54Orterstein.
01:08:55Orterstein.
01:08:56The family name to Sonia Armstrong and her younger sister, Helena.
01:09:04My wife does not understand English we used to.
01:09:06Let's stop this right now.
01:09:07Yes, let us stop this.
01:09:09You had the handkerchief with an H.
01:09:10That would have pointed to me.
01:09:11And you would have found my connection to Daisy.
01:09:12Your niece.
01:09:13My sweet niece.
01:09:14This girl hasn't done anything wrong.
01:09:15You know nothing, monsieur.
01:09:17You don't touch her.
01:09:18Shall I tell you what I know?
01:09:19Huh?
01:09:20Mademoiselle Demidem?
01:09:21Surely.
01:09:22I know.
01:09:23Because Franz Schmidt told me.
01:09:24But the Christian name of Princess Dragomirov is.
01:09:25She's Natalia.
01:09:26And this is not so princess that in the Russian alphabet the capital letter N is written
01:09:27like the western letter H.
01:09:28So I know that there is more than just one connection with Daisy Armstrong on this train.
01:09:31The godmother of the princess.
01:09:32And this is not so princess that in the Russian alphabet the capital letter N is written
01:09:49like the western letter H.
01:09:52So I know that there is more than just one connection with Daisy Armstrong on this train.
01:09:57The godmother.
01:09:58The...
01:09:59The aunt.
01:10:04And the son to the prosecutor who Poirou remembers from the papers ended his career in shame because
01:10:11he rigged the trial.
01:10:13Cassetti's connections threatened to kill me.
01:10:16His son.
01:10:17If he didn't do what they asked, what was he supposed to do?
01:10:21He was supposed to have ensured that justice was done in an open court, monsieur.
01:10:26This girl did not murder that man.
01:10:29Not in a frenzy.
01:10:30No.
01:10:31This was a cold crime, was it not?
01:10:35Mlle Debenham.
01:10:37One long interplanning.
01:10:39But it was you, monsieur Bouc, who first suggested to Poirot that only in America could such a society as this
01:10:46all be found together.
01:10:48But maybe also in the house of a rich man in Long Island.
01:10:54Because.
01:10:55Here we have the cook.
01:10:56And that is Fräulein Schmidt, is it not so, Misha?
01:11:11Hmm?
01:11:12And next to her is your daughter, the French housemaid, Mlle Francoise, who fell under the suspicion of the police for her complicity in the death of Daisy Armstrong, but who actually was innocent, eh?
01:11:26And committed suicide.
01:11:28Signor Foscarelli, what were you?
01:11:33The chauffeur?
01:11:34The chauffeur.
01:11:35And also the lover to Mlle Francoise.
01:11:38All she did was talk to a stranger in the shop.
01:11:49She let slip some details about the house.
01:11:52What time the nursemaid took off.
01:11:57She didn't know she was talking to a man like Cassetti.
01:12:03Yes, and all this in 1933, five years ago.
01:12:10How long have you been with Jesus, Mlle Olsen?
01:12:14Five years I have been with him.
01:12:17For Poirot, he suspects that you were that nursemaid.
01:12:21Some crimes God does not forgive.
01:12:29And you, Mlle Debenham?
01:12:31The professional governor, sir.
01:12:34With paralysis down one side of your body.
01:12:36How, I wonder, could you possibly have sustained such an injury?
01:12:47At first I thought that you, Monsieur Musterman, you were the butler to the Armstrong household, but no.
01:12:54Then I observed how familiar the coroner on O'Bathnot was with you.
01:12:57And now I believed you served together in the army.
01:13:00Alongside the coroner on Armstrong.
01:13:03Said he was his Batman throughout the war.
01:13:05He was the best of gentlemen.
01:13:07And he was my closest friend.
01:13:09And then Linda Arden, so famous, that there was a danger of you being recognized if you were to board the train as yourself.
01:13:26Are you even fooled?
01:13:27Follow.
01:13:28Twelve people.
01:13:29And twelve wounds in the body of Cassetti.
01:13:43Twelve members of a jury.
01:13:46But I do believe that the Count Andreni was a man of honor.
01:13:50And his wife had been protected, and was not involved in the killing, and took out Riannol, as he had said.
01:13:55That's correct.
01:13:56So who then was the twerp then?
01:13:59Could he possibly be the man who tried to deflect Poirot at every turn, huh?
01:14:03That is how the killer must have left.
01:14:05The obstetrician from America, who Poirot suspects counted among his clients, a family on Long Island, and who he watched, how they suffered.
01:14:16We have Miss Debenham to thank for our plan.
01:14:27It was her fortitude that brought us all together and channeled our determination.
01:14:33The plan had great beauty.
01:14:36Cassetti's whiskey was drugged so that he was awake, but could not react to anything.
01:14:44We needed him to know of his execution.
01:15:12Mr. Roger.
01:15:13Mr. Roger.
01:15:15Mr. Roger, is everything alright?
01:15:17C'n'er rien.
01:15:18Je me suis trompé.
01:15:22Awww main guitar.
01:15:30After you had heard that, all we needed was for you to go to sleep with your Poirot...
01:15:37I could tell you who we are, but all you need to know is that the people that you killed
01:15:59are all in heaven, Mr. Cassetti, while you are going to hell.
01:16:07That baby must have been so scared when you killed her.
01:16:18Did you not think that we would not search the world to get justice for those good people
01:16:28that we loved?
01:16:33No!
01:16:40No!
01:16:47No!
01:16:54No!
01:17:01No!
01:17:08No!
01:17:09No!
01:17:10No!
01:17:11No!
01:17:12No!
01:17:13No!
01:17:14No!
01:17:15No!
01:17:16No!
01:17:17No!
01:17:18No!
01:17:19No!
01:17:20No!
01:17:21No!
01:17:22No!
01:17:23No!
01:17:24No!
01:17:25No!
01:17:26No!
01:17:27No!
01:17:28No!
01:17:29No!
01:17:30No!
01:17:31No!
01:17:32No!
01:17:33No!
01:17:34No!
01:17:35No!
01:17:36No!
01:17:37No!
01:17:38No!
01:17:39No!
01:17:40No!
01:17:41No!
01:17:42No!
01:17:43No!
01:17:44No!
01:17:45No!
01:17:46No!
01:17:47No!
01:17:48No!
01:17:49No!
01:17:50No!
01:17:51No!
01:17:52No!
01:17:53No!
01:17:54No!
01:17:55No!
01:17:56No!
01:17:57No!
01:17:58No!
01:17:59No!
01:18:00No!
01:18:01No!
01:18:02No!
01:18:03No!
01:18:04No!
01:18:05No!
01:18:06No!
01:18:07No!
01:18:08No!
01:18:09No!
01:18:10No!
01:18:11No!
01:18:12No!
01:18:13No!
01:18:14No!
01:18:15No!
01:18:16No!
01:18:17she was five years old we were good civilized people and then evil got over the wall and we
01:18:27looked to the law for justice and the law let us down no no no you behave like this and we become
01:18:35just savages in the street her jury is an executioner's that they elect themselves
01:18:43no it is medieval the rule of law it must be held high and if it falls you pick it up and hold it
01:18:52even higher for all society all civilized people will have nothing to shelter them if it is destroyed
01:18:59it is a higher justice than the rule of law monsieur then you let god administer it not you
01:19:06and when he doesn't when he creates a hell on earth for those wrong
01:19:13when priests were supposed to act in his name forgive what must never be forgiven
01:19:25jesus said let those without sin throw the first stone wait well we were without sin monsieur
01:19:39i was without sin when we get too broad if we ever get too broad let these good people go monsieur
01:19:51hand me over to the police my world has gone let these people live
01:19:57no the worst kind of murder of poirot monsieur the devil incarnate can't stand here and defend him
01:20:07to us he was bad as a crook in the courthouse sir lock the door it is true monsieur you can't tell
01:20:14these people are good people that cassette that cassette he deserved to be executed for what he did
01:20:22and the world knows it was a promise that he was not lock the door
01:20:27we can present the conductors uniform to the police in proud and let these people go free
01:20:40none what are you doing i can't be seen here i won't be seen here colonel we have assigned one
01:20:49murder to the assassin we can assign two more we are not murderers open the door
01:20:53killing cassetti was god's rock or no open the door you killed him john you're no better than cassetti
01:20:58get out of my way no no no no if we kill them we will have become like gangsters
01:21:11just protecting ourselves god knows how hard it will be to carry cassetti's murder through our lives
01:21:20but how unconscionable will it be to carry matters that are wrong
01:21:25i'm proud of you john
01:21:28i'm proud of you for getting justice for your friend and i love you
01:21:34i love you
01:21:35but we don't do what is wrong my darling we don't do what is wrong
01:21:41i love you
01:21:47but we don't do what is wrong
01:21:53but we don't do what is wrong
01:22:00Is this here?
01:22:28Will I come to you?
01:22:29Of course.
01:22:30I have some tea.
01:22:37I take it to him.
01:22:39Oh, yes.
01:22:40Yes.
01:22:44Can I ask if there will be police arriving with a snowplow?
01:22:49Yes.
01:22:50They would be there, yes.
01:22:51Princess Dragomirov is making everyone tea on the stove.
01:23:10One thing you didn't solve
01:23:21was where we hid the money we were going to give back
01:23:23to the Armstrong Trust.
01:23:25No.
01:23:29But I think the princess
01:23:30put on much weight from one day to the next.
01:23:33To have been so well-insulated
01:23:41would have been useful last night.
01:23:46You said of the woman in Istanbul
01:23:48that she knew the rules of her culture
01:23:51and knew what breaking them would mean.
01:23:54So did Cassetti.
01:23:55And so do you.
01:23:59When you've been denied justice,
01:24:01you are incomplete.
01:24:05It feels that God has abandoned you
01:24:08in a stark place.
01:24:14I asked God.
01:24:17I think we all did what we should do.
01:24:20And he said,
01:24:21do what is right.
01:24:25And I thought if I did,
01:24:27it would make me complete again.
01:24:29And are you?
01:24:42But I did what was right.
01:24:44I don't know.
01:25:01I feel like we're going to be here.
01:25:04I feel like I don't know.
01:25:05I don't know.
01:25:05I'm sorry, I'm sorry.
01:25:07I'm sorry, I'm sorry.
01:25:35I'm sorry.
01:26:05I'm sorry, I'm sorry.
01:26:35I'm sorry, I'm sorry.
01:27:05I'm sorry.
01:27:35I'm sorry.
01:28:05I'm sorry, I'm sorry.