- 7/1/2025
#marpletowardszero #othello #marplebytheprickingofmythumbs
An obnoxious man who outbid Poirot at an auction for an antique mirror is murdered after seeking Poirot's assistance to look into the dealings of his business associate. Starring; David Suchet, Hugh Fraser, Philip Jackson.
An obnoxious man who outbid Poirot at an auction for an antique mirror is murdered after seeking Poirot's assistance to look into the dealings of his business associate. Starring; David Suchet, Hugh Fraser, Philip Jackson.
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Short filmTranscript
00:00To be continued...
00:30To be continued...
01:00Ladies and gentlemen, lot 22.
01:17An Edgar Brandt wrought-iron wall mirror and console table.
01:21I shall open the bidding at £30.
01:28Do I see £30?
01:31Is this what you came for, Morrow?
01:33Yes, it is, Hastings. I thought for the vestibule, you know, by the door.
01:36£40.
01:37Oh, how will you go?
01:39£90.
01:40£50? Thank you.
01:43£60.
01:45And £70.
01:50Here.
01:51£80. Thank you, madam.
01:54£90.
01:55At £90, then.
02:01At £90? Any more?
02:05£100.
02:05£100.
02:06It's, uh, with you, sir.
02:18£120.
02:20Sir?
02:35At £120, then.
02:38Any more?
02:38Sold to Mr. Chabonix.
02:45Well, that was a bit of bad luck, Poirot. I thought you had it there.
02:48So Hastings did I.
02:50Mr. Poirot?
02:51You are Hercule Poirot, are you not?
02:53The detective?
02:54Yes.
02:56No hard feelings, I hope?
02:59No.
02:59Good. My card.
03:02Tell me, what do you know about modern art, Mr. Poirot?
03:07I'm a collector. Also, I deal in paintings and sculptures. That's my business.
03:11And I have to tell you, I'm not a man who's easily fooled.
03:16That is self-evident, monsieur.
03:17So it may surprise you to learn that I believe I'm being defrauded.
03:21I want you to look into it.
03:22The services of Hercule Poirot are not inexpensive.
03:26Maybe I'll give you the mirror, what do you say?
03:28I've got a place, Hamburger Close, near Wimberley.
03:31How about tomorrow?
03:33That is out of the question.
03:35The day after, then. Let me know.
03:39Well, that was a bit of a cheap, wasn't it?
03:41Yes, indeed, Hastings.
03:43This Gervais Chabonix.
03:48It does not occur to him that Poirot is also a man of importance.
03:51A man of affairs.
03:54And yet he summons me like a mere nobody, an obedient dog.
03:58I take it you'll refuse?
03:59To refuse, yes. It is my first instinct.
04:03But you know, Hastings, a man with so much arrogance as this,
04:07even he may be vulnerable in ways he cannot see.
04:11And he did offer you that mirror.
04:15That too.
04:17I'll get the tickets tomorrow.
04:22And do you take this man to be your lawfully wedded husband?
04:26I do.
04:29Well, there we are, then.
04:32Now, let me see.
04:35Do you have a ring?
04:37Yes.
04:39That's right.
04:43John Lake,
04:44Ruth Chabonix,
04:46I am pleased to declare you
04:47man and wife.
04:49I wish it didn't have to be like this.
05:07I do love you.
05:07I do love you.
05:38This is my associate, Captain Hastings.
05:53May I offer you a cup of coffee?
05:56Oh, I won't.
05:58My fiancé, Hugo, told me to look out for you.
06:01Actually, he's not my fiancé.
06:03Not officially, anyway.
06:05Hugo?
06:06Oh, Hugo Trent.
06:07Gervais' nephew.
06:08He's meeting you at the station,
06:09so he suggested I come on the same train.
06:12Are you staying with Mr. Chabonix?
06:14Unfortunately, yes.
06:17Well, I've only met him once,
06:19and he was absolutely horrible to me.
06:22He doesn't approve of you?
06:24It's not that.
06:25It's just...
06:27Well, it's...
06:28It's Hugo and me.
06:30You see, Gervais has always had his heart set on Hugo
06:32marrying his daughter, Ruth.
06:34But he's not inclined to do that.
06:36No.
06:37You see, Ruth was adopted.
06:40I suppose Gervais thinks marrying her to his nephew
06:42will...
06:43will make her more completely his.
06:46But he can't force them to marry, can he?
06:49He can try.
06:50He will try.
06:52I think he enjoys it,
06:54manipulating other people.
06:57I really hate him, you know.
07:00I do.
07:01And I'm not going to let him spoil my life.
07:04Here's Hugo.
07:18Susan.
07:21You must be Mr. Poirot.
07:23Mr. Hugh.
07:24And?
07:25Arthur Hastings.
07:27Hugo Trent.
07:28Uh, look,
07:29I'm supposed to be driving you to Hambra close,
07:31but I've got to stop off at my studio.
07:33Do you mind terribly?
07:34Not at all.
07:35It's on the way.
07:35Oh.
07:36And these are my designs.
07:43All of them.
07:45What we're doing here is revolutionary, Mr. Poirot.
07:48What do you think?
07:50I think it is most remarkable.
07:53Is it all metal?
07:55Tubular steel.
07:56You see, who needs wood, Captain Hastings?
07:59Wood expands, it perishes, it dries out,
08:01but metal, metal is perfect.
08:04You see, triangulated joinery.
08:07There's no fuss.
08:08Oh, yes, I see.
08:09Hugo.
08:10Give me a minute, Lawrence.
08:14Look at this.
08:16Sit down.
08:18What?
08:19What do you think?
08:30I think
08:31that it is perfectly conceived.
08:36This is the future, Mr. Poirot.
08:38And I could sell thousands, if only.
08:41Uncle Gervais.
08:43He does not support this enterprise.
08:45Just getting this far has been a struggle.
08:48Now the banks are closing in,
08:49and I may have to sell my designs just to pay them off.
08:52Hugo.
08:53They telephoned while you were out.
08:55They won't give you any more time.
08:57I'll have to speak to them.
09:00Excuse me, Mr. Poirot.
09:02Lawrence will have to drive you.
09:05Damn it to hell.
09:06Hmm, quite a place.
09:27Good afternoon, gentlemen.
09:38Mr. Chauvinix is waiting for you.
09:40Merci.
09:40Enter.
09:41Enter.
09:46What's your Poirot, sir?
09:47Oh, Mr. Poirot.
09:49Good of you to come.
09:52You brought your secretary.
09:54This is my associate, Captain Hastings.
09:58Oh, yes.
09:59I saw him at the auction.
10:01Well, what do you think?
10:03Hung it this morning.
10:04Looks good, doesn't it?
10:06Yes.
10:07Indeed.
10:08Shall I come back later, Mr. Chauvinix?
10:11Eh, yes.
10:12You can sort out that stuff on Matisse.
10:14This is Miss Lingard, my research assistant.
10:18How do you do?
10:19Mademoiselle Lingard.
10:20We're working on a study of fauvism for the British Museum of Modern Art.
10:26Oh, Miss Lingard, is that architect here?
10:30I believe so, Mr. Chauvinix.
10:32Have him come in, will you?
10:36Ten thousand pounds, Mr. Poirot.
10:39Not a drop in the ocean.
10:41That's how much I've paid him, John Lake.
10:44And this is the fraud you wish me to investigate?
10:47Yes.
10:48For what purpose did you give him the money?
10:51A big development in London.
10:53Shops, offices, apartments.
10:55He's building it, and he's got me to invest.
10:59So far, he hasn't even laid a brick.
11:01And I'm beginning to wonder if he ever will.
11:06You wanted to see me, Gillette?
11:08Come in, Lake.
11:10There's someone I want you to meet.
11:12This is Hercule Poirot.
11:16The detective?
11:17Yes.
11:20Why don't you take Mr. Poirot into the garden and get him some tea?
11:24I'll see you at dinner.
11:25We'll meet in the hall, quarter past eight.
11:27Do try not to be late.
11:29Snell rings the first gong at eight minutes past the hour,
11:33and the second at 8.15.
11:34I'll see you then.
11:37Gentlemen.
11:37I, uh, I don't suppose.
11:51You're not here on business, Mr. Poirot.
11:53That is precisely why I am here, Mr. Lake.
11:55Oh, that's typical of Gervais.
11:58He likes to spring his surprises.
12:07Let me introduce you.
12:09This is Mrs. van der Chevenix.
12:11Thank you, Poirot.
12:12Captain Hastings.
12:13Madame.
12:13How do you do?
12:15And her daughter, Miss Chevenix.
12:18Ruth.
12:20Mademoiselle.
12:21Hello.
12:22Hello.
12:24Apparently, Mr. Poirot is doing some work for your father.
12:28For Gervais?
12:29Really?
12:30Oui.
12:30It is about the death.
12:35What death, Madame Chevenix?
12:37Saffra warned me there would be a death.
12:41She told me not to be afraid.
12:44Ah, who's Saffra?
12:46She was a servant of a menhotep.
12:49She is my spiritual guide.
12:52Oh, come on, van der.
12:54I'm sure Mr. Poirot doesn't want to hear about all that.
12:57Au contraire, mademoiselle.
12:58Poirot interests himself always in matters of the outcome.
13:04Do you permit?
13:07Merci.
13:19It is very old.
13:22It is 3,000 years old.
13:25It was hers.
13:27These belong to Saffra.
13:31She is never wrong.
13:33I, uh,
13:35I'd better be going.
13:37I'll walk round with you.
13:39Excuse me.
13:40Right.
13:43Dee?
13:44Evening, Hugo.
14:06Where are you going, Ruth?
14:07I dropped my brooch somewhere outside, I think.
14:09Have you spoken to Gervais?
14:12Yes.
14:13He's impossible.
14:14Well, I'll be
14:20helpful.
14:21I'll be right back.
14:23Is there a deal?
14:28They're a great boy.
14:30Who'smered a couple of old boys?
14:34I hear a lie.
14:36I hear a lie.
14:36You know?
14:37I hear a lie.
14:37I hear a lie.
14:39Okay?
14:39Oh.
14:40Oh, okay.
14:40I hear a lie.
14:41The body's not as friends.
14:42Oh, you're not ready yet.
14:50Well, we have plenty of time, mon ami.
14:52Are you sure?
14:53I could have sworn I heard the first gong.
14:56Let me see.
15:04Well, it is six minutes past eight only.
15:12Oh, my God.
15:42Oh, my God.
15:56What was that?
15:58Oh, you're not enough.
15:59It was a gunshot.
16:00Good evening, Miss Ruth.
16:14Oh, good evening, Miss Lingard.
16:22Is something the matter?
16:25I'm not late, am I?
16:27Did you hear it, Susan?
16:27What?
16:28I thought I heard a shot.
16:29Just now.
16:31I thought it was a car backfiring.
16:33Ruth.
16:34What's going on?
16:35We thought we heard a gun going off.
16:38Oh, yes, I thought I heard something.
16:39It came from upstairs.
16:42No, it was a car.
16:43It came from over there.
16:44I heard it, too.
16:46Snell?
16:49Yes, ma'am?
16:50It is 8.15.
16:52Time for the second gong.
16:54Yes, ma'am.
16:57But where is Monsieur Chévenix?
16:59He is never late.
17:02He was working in the study lab.
17:19These doors must be broken open immediately.
17:21Here, let me.
17:22Here, let me.
17:32I told you Safra is never wrong.
18:02I told you, Safra is never wrong.
18:29Evening, Poirot.
18:36Chief Inspector Jap.
18:38Right, where's the body?
18:39This way, Chief Inspector.
18:49Chief Inspector.
18:59Chief Inspector.
19:09Suicide?
19:10Yes, so it would appear.
19:11I'd say it was obvious.
19:13The bullet must have gone straight through his head
19:15and hit the mirror.
19:18So it would appear.
19:24He left a note.
19:29Oh.
19:31Sorry.
19:34I suppose that says it all.
19:36Hmm.
19:37Look at this, Chief Inspector.
19:44What is it?
19:46It is a small fragment of the looking glass.
19:49Well, that must be splinters all over the place.
19:52Who found the body?
19:53We did.
19:54We heard a shot at about 10 past 8,
19:56and then we broke in the door.
19:59Let me see.
20:14Ah.
20:15Just as I thought.
20:16He locked himself in.
20:18That more or less wraps it up.
20:20You believe so?
20:22Well, we've got a dead man.
20:25You heard a shot.
20:26He's alone in the room.
20:27The gun's in his hand, and the door's locked.
20:29And what about the windows?
20:30It's possible.
20:31And this one.
20:36This one, too.
20:37Right.
20:38Well, I'd better go and have a word with Mrs. Shevenix.
20:39Not that there's much to say.
20:43You know, it does look like suicide, Poirot.
20:44Oui, c'est possible, mon ami.
20:45And yet, there are many things I wish to know.
20:46And yet, there are many things I wish to know.
20:53For example,
21:20Why was the mirror broken?
21:23And why was there mud on the shoes belonging to Mademoiselle Ruth Shevenix?
21:27Voila.
21:28Footprints?
21:29Yes, Hastings.
21:30They are the footprints of a lady, and directly outside the study of Monsieur Shevenix.
21:35But the French window is locked from the inside.
21:36But this window, Hastings, it can be locked from the outside.
21:37Regarde.
21:38By raising the metal catch so, and then with a push.
21:40Good Lord.
21:42You know, Chief Inspector, life is one of the great illusions.
21:49I'm afraid I don't quite agree with that, Mrs. Shevenix.
21:50Gervaise knew that.
22:04He and I, you see, we met on the same plane.
22:07On holiday?
22:08The spiritual plane.
22:11He was one of the great ones.
22:12He too found it hard to conform to the silly standards of the everyday world.
22:18And he believed me.
22:19About the death.
22:20You'd been told me.
22:21He and I, you see, we met on the same plane.
22:24On holiday?
22:25The spiritual plane.
22:28He was one of the great ones.
22:31He too found it hard to conform to the silly standards of the everyday world.
22:39And he believed me.
22:43About the death.
22:46You'd been told about his death?
22:49Oh, yes.
22:54Safra told me.
22:57She knew.
22:58Did she indeed?
23:01Mrs. Shevenix, can you tell me where I might be able to get hold of this Safra?
23:07She used to live in Egypt.
23:11But she moved?
23:14No.
23:15Perfectly conceived.
23:16Hello, Mr. Poirot.
23:17Hello, Mr. Poirot.
23:18Hello, Mr. Poirot.
23:19Mr. Poirot.
23:20Mr. Tran.
23:21Did you see your uncle earlier this evening?
23:23Yes.
23:24It must have been about seven.
23:25He was dressed for dinner.
23:27I went to see him to ask him to help me with my business.
23:28But he wouldn't listen.
23:29He wanted Hugo to marry Ruth.
23:30No marriage to Ruth.
23:31No money for me.
23:32That's what it boiled down to.
23:33So, Monsieur Trent, you had no reason, therefore, to celebrate.
23:34None at all.
23:35It was not you then that opened this bottle of champagne.
23:36No?
23:37Curious.
23:38The bottle of champagne, it is opened, and yet the contents are not consumed.
23:39I went to see him.
23:40I went to see him to ask him to help me with my business.
23:41But he wouldn't listen.
23:43He wanted Hugo to marry Ruth.
23:45No marriage to Ruth.
23:46No money for me.
23:47That's what it boiled down to.
23:49So, Monsieur Trent, you had no reason, therefore, to celebrate?
23:55None at all.
23:56It was not you then that opened this bottle of champagne.
23:59No?
24:00Curious.
24:01The bottle of champagne, it is opened, and yet the contents are not consumed.
24:15Ah, there you are, Poirot.
24:17You got any idea how I can get hold of this Safra?
24:20Some sort of friend of Mrs. Shevnick's?
24:22Safra's dead.
24:23She's found a spirit guide.
24:28Ah.
24:29Might as well be off then.
24:31You believe there is nothing to investigate?
24:34Gervais Shevnick shot himself.
24:36I'm sure of it.
24:38In that event, Chief Inspector D'accord, we return at once to London.
24:43There are perhaps two questions that you might be able to answer for me.
24:48Ah, yes.
24:53First question.
24:56Was Monsieur Shevnick's right-handed or left-handed?
25:03What's the other question?
25:04It is more simple.
25:06If Monsieur Shevnick shot himself,
25:11what has happened to the bullet?
25:14Oh, hello, Shirley.
25:15Can I see Mr. Poirot?
25:16Yes.
25:17I'll always come this way.
25:18Uh, Miss Shevnick's is here.
25:19Where was it?
25:20He's coming in, babe!
25:22Oh, God!
25:23I'm coming!
25:24I'm coming!
25:34Oh, hello, Miss Chevenix.
25:36Can I see Mr. Poirot?
25:37Yes.
25:38I will need to come this way.
25:41Miss Chevenix is here.
25:42Ah, mademoiselle.
25:43Mr. Poirot, I need to see you.
25:46Please to sit down, mademoiselle.
25:50Is it true that Gervais hired you to investigate John Lake?
25:55Oui, mademoiselle.
25:57Monsieur Chevenix believed that he was the object of a fraud.
26:00Well, I've come to tell you that the case is over.
26:03I don't know what he offered to pay you,
26:05but I hope that will cover it.
26:12Mademoiselle,
26:14the company of Monsieur John Lake
26:19What is he called?
26:22It's Northgate Development.
26:23But I'm telling you, Mr. Poirot, there is nothing to investigate.
26:26May I ask, mademoiselle?
26:31Were you close to your guardian?
26:36I was grateful to Gervais.
26:38And he wasn't just my guardian.
26:42He was actually my uncle.
26:44But he adopted you.
26:47I was what is quaintly called a love child.
26:51My father was Gervais' younger brother.
26:53He was killed in the war.
26:55And my mother was a typist.
26:57Ah.
26:58And where is she now?
27:00I don't know.
27:01When my father died, she wrote to Gervais.
27:06He couldn't have any children of his own, so he adopted me.
27:09I see.
27:11Please, to sit down, mademoiselle.
27:13Tell me, mademoiselle,
27:20on the night of the death of Monsieur Chévenix,
27:28where were you at eight o'clock?
27:31I was in the house.
27:32But you went out, I think.
27:33Did I?
27:34Oh, yes.
27:35There was mud on your shoes.
27:36I remarked on that fact.
27:38You don't miss a thing, do you?
27:40Well, yes.
27:41I went out twice.
27:43At about six o'clock, I went to pick some daisies just by the study.
27:47And later?
27:51It must have been just after eight.
27:54I realized I dropped my brooch and I went back to get it.
27:57It is as simple as that.
27:59If you don't believe me, you can ask Miss Lingard.
28:02Mademoiselle Lingard?
28:04She was in the lounge when I came in.
28:22Mr. Poirot.
28:23Mademoiselle Lingard.
28:24Captain Hastiers.
28:25Miss Lingard.
28:26You quite startled me.
28:27Still working on the book, I see.
28:30Well, yes.
28:31I was paid until the end of the month.
28:33And the book's so nearly finished, it's a shame to stop now.
28:37But this is not, I believe, a faux painting.
28:40No, it's later.
28:43But it's such a beautiful painting.
28:47So sad.
28:49Yes, indeed.
28:51Mademoiselle Lingard, I wonder if I might ask you some questions
28:54concerning the death of Monsieur Gervais Chevinix.
28:57On the night of his death, as the study door was being broken open,
29:01I noticed that you bent down to retrieve something.
29:04Oh, yes.
29:07It was this.
29:09Oh, it looks like a bullet.
29:11That's what I thought.
29:13But in fact, it's a cufflink.
29:17I believe it belongs to Mr. Trent.
29:19I was meaning to give it back to him.
29:21I wonder what it was doing outside the study.
29:24I've no idea.
29:25If you permit, I shall return it to him on your behalf.
29:28Oh, thank you.
29:29One final question, Mademoiselle Lingard.
29:33Ruth Chevinix.
29:36What about her?
29:38I understand that you saw her just before the body was discovered.
29:42Yes, it was just after we all had the shot.
29:46She was with me in the living room.
29:50It is as I thought.
29:52Merci.
29:54Well, that seems to back up Ruth's story.
30:00Tell me, Hastings, what was your opinion of Mademoiselle Ruth?
30:03I don't know.
30:05I'd like to know why she seems so keen to defend John Lake.
30:08Precisement.
30:10And that is also the question that exercises the little grey cells of Poirot.
30:19All right, Poirot, you win.
30:21It wasn't suicide.
30:23From what comes this change of mind, Chief Inspector?
30:26Well, it's like you said.
30:27Gervais Chevinix was right-handed.
30:29But when we found him, the gun was in his left hand.
30:32Wait.
30:33And as for the bullet, it's vanished into thin air.
30:37Isn't it in the war?
30:39Nowhere.
30:42And here's something that you ought to see.
30:48The last will and testament of Gervais Chevinix,
30:51leaving his fortune, and it's a tidy sum,
30:55to Vanda and Ruth Chevinix.
30:58They split it 50-50.
31:00Oh, and there's a bequest of 2,000 pounds to Hugo Trent.
31:04Ah.
31:08So he received his capital after all?
31:10Ah, yes.
31:12But there's something else.
31:14We found this in one of his desk drawers.
31:18Unlocked.
31:20Anyone could have seen it.
31:21A second will?
31:22Yes.
31:23But unsigned.
31:27What does it entail?
31:29It's completely balmy.
31:31Vanda Chevinix gets everything if Hugo Trent and Ruth Chevinix don't marry each other.
31:45Oh, I say.
31:46That sounds like a motive for murder if ever I heard one.
31:49Right.
31:51That's what I thought, too.
31:53So you are suggesting that Monsieur Chevinix was killed to prevent him from signing this new will?
31:57Right.
31:59It is possible, yes.
32:01But there's one thing I'd like to know, Poirot.
32:02What is that, Chief Inspector?
32:03What exactly were you doing at Amber Aclose?
32:04How did you get mixed up in all this?
32:06Fraud?
32:08That is what Monsieur Chevinix believed.
32:33Northgate developments.
32:36Not quite what you'd expect, is it?
32:38Well, if this place is just a front, Captain Hastings, it's exactly what I'd expect.
32:45Ah, the door's open.
32:56It's very quiet.
32:59There doesn't seem to be anybody about.
33:00The place is deserted.
33:03Must have done a bunker.
33:06I say Poirot.
33:08Come and look at this.
33:13Pond Street Harrow.
33:16It's a scale model of the development.
33:18Does it not remind you of something, Hastings?
33:21It looks a bit like Amber Aclose.
33:24It is the work of the same hand.
33:25Hastings?
33:27Do you smell the smoke?
33:29Yeah.
33:31God, there's someone in there!
33:32Jim!
33:34What is it?
33:43Oh, God, there's someone in there.
33:49Jim!
33:51What is it?
33:55Mike.
34:01It's Joe Lake.
34:03Come on, get him outside.
34:07Oh, Sam, you need a fire.
34:09He's ready.
34:09Oh, I can't see.
34:11Keep his back there.
34:13Heave me.
34:14Follow me.
34:19Careful, Captain, I think.
34:21Oh, I can't see.
34:39Good Lord.
34:57Mr. Poirot.
35:00I'm sorry.
35:02I've been foolish.
35:04You wish to tell me about Northgate development,
35:06and lose your leg.
35:08Yes.
35:10Yes.
35:13I didn't know what I was doing.
35:16That's the truth of it.
35:18I was out of my depth.
35:22To start with, I was just the architect.
35:26Then they asked me if I'd like to be a partner.
35:27I didn't know anything about business, but I was flattered.
35:34And so you helped them to raise the finance?
35:37Yes.
35:37And I disappeared with it, leaving you to carry the can.
35:41That's right.
35:43When Gervais called you in, I was afraid.
35:46I panicked.
35:49I just wanted to get rid of the evidence.
35:51So it was you that started the blaze.
35:56I set a device.
35:58A timer.
36:00Which misfired.
36:07If you...
36:08If you hadn't found me.
36:15No.
36:15Mr. Poirot.
36:23I'm with you.
36:24Chief Inspector.
36:26I have to go in.
36:28I'm sorry, miss.
36:29No visitors.
36:30But you don't understand.
36:31I must see him.
36:32It's family only.
36:33There's a doctor's orders.
36:35I am family, Chief Inspector.
36:39I'm his wife.
36:43John and I were married a week ago.
36:45Can I go in?
36:51Your husband awaits you.
37:01Wow, wow, wow.
37:03So Ruth secretly married John.
37:07Well, good luck to her is all I can say.
37:09But you also have plans for the marriage, Mum with her Susan.
37:12Yes.
37:12And from now on, I'll be helping Hugo with his business.
37:16But what brings you here, Mr. Poirot?
37:18Do you want to place an order?
37:19Oh, no, no, no, no, no, no, no, Monsieur Trent.
37:21It is just this.
37:22It belongs, I think, to you.
37:26Yes.
37:28Yes, it is mine.
37:30Where did you find it?
37:31Monsieur Trent, on the night that your uncle died, did you see Monsieur John Lake?
37:37No.
37:38No, he was in the library.
37:40You heard the shot?
37:41Yes.
37:43Well, Susan heard it, too.
37:44Yes.
37:45I was dashing down the corridor.
37:47I thought it was a car backfiring.
37:48But why were you dashing, mademoiselle?
37:52Well, I'd got muddled with the gongs, and I was terrified of being late.
37:55You see, I thought I'd already heard the first gong.
37:58Yes, I thought I heard it, too.
38:00Exactly, Hastings.
38:02And yet I heard you, Poirot.
38:06Did not hear.
38:07The case is solved.
38:15Solved?
38:16How?
38:16Ah, Hastings.
38:17Did you not hear the testimony of mademoiselle Cardwell?
38:20And do you not recollect the bottle of champagne?
38:22It's going to take more than champagne to solve this case, Poirot.
38:25What about the bullet, for instance?
38:27You shall have the bullet, Chief Inspector.
38:30Soon, you shall have everything.
38:33I have asked you all to come here so that you might learn the true facts
38:39concerning the death of Monsieur Gervais Chévenix.
38:42He is not dead.
38:45Madame?
38:46He is on a different spiritual plane, that's all.
38:53First, we must accept the fact that this was no suicide.
38:57Monsieur Chévenix did not kill himself, no.
39:00He was killed.
39:03And by someone in this very room.
39:06It's not possible.
39:08There was no one in here when we broke in.
39:10And all was locked from the inside.
39:12Gervais had the key.
39:14And the windows were fastened.
39:15Anyway, no one would have wanted to kill him.
39:18Indeed.
39:20And yet it was you, mademoiselle Cardwell.
39:22You yourself who told to me that you hated him.
39:24And that you would let nothing stand in between you and Monsieur Hugo Trent.
39:28That's not fair.
39:30And you, Monsieur Trent.
39:31You were desperate to see your business succeed.
39:35It's true.
39:36I needed money.
39:38Money which you now have, Monsieur.
39:41Money which you would never have received without the death of your uncle.
39:43You also, Monsieur Lake.
39:54Oh, yes.
39:55You were afraid from the moment you set eyes on Poirot.
39:59You have not only committed arson.
40:02You also persuaded Monsieur Chévenix to part with a sum of 10,000 pounds.
40:06That wasn't my fault.
40:09No.
40:10I think Monsieur Chévenix might have disagreed.
40:14And you also.
40:17You had every good reason to wish your guardian dead, Madame Lake.
40:21I had no reason at all.
40:24Anyway, even if it was murder, it couldn't have been me.
40:26No.
40:26I told you, Mr. Poirot, Miss Wolf was in the living room with me when Mr. Chévenix was killed.
40:31At what time was that, Madame Lélingard?
40:33And at what time did Monsieur Chévenix die?
40:35We know what time he died.
40:37We heard the shot.
40:38No, no, no.
40:41You were deceived.
40:44At 8 o'clock, Monsieur Chévenix was indeed in his study working at his desk.
40:49But he was not alone in the room.
40:54He turned.
40:58The gun was silenced.
41:01No one heard the shot.
41:06So, let us now consider the language of the bullet.
41:15Hastings, please, Tussin.
41:16The gun was discovered in the left hand of Monsieur Chévenix.
41:26Good.
41:27My car.
41:28And yet, from our very first meeting, I knew that Monsieur Chévenix was right-handed.
41:33But if the bullet was fired from behind, Hastings,
41:39comme ça,
41:41how could it possibly hit the mirror which is to the side?
41:44Well, he couldn't have.
41:46No.
41:47So, now, let us suppose that the door to the study was open.
41:50If you please, Monsieur Chévenix.
42:00And again, Hastings?
42:02The gun comme ça.
42:06It would have hit the gong.
42:07So, that was the gong I heard.
42:11Well, then, how did the mirror get broken?
42:14The murderer wanted to make an appearance of suicide.
42:17But what if the sound of the gong has been heard?
42:20Then it would be known that the door to the study was open and not closed.
42:24Quickly,
42:26the door is closed.
42:28And locked.
42:29The gun is placed into the left hand of the dead man.
42:34The key goes into the pocket.
42:37The suicide note of one word is easily forged.
42:41And the mirror deliberately smashed.
42:44When I first came here,
42:49you will remember,
42:50Chief Inspector,
42:51that I discovered a fragment of the looking glass
42:54attached to this brass ornament,
42:56the base of which was also slightly damaged.
43:00It was then
43:01that I saw the light.
43:03So, what happened then?
43:05How did the killer leave?
43:07The killer left through the window,
43:10cleverly closing the latch
43:12from the outside.
43:14Voila.
43:16So, who was it?
43:17Who was the murderer?
43:22Who entered the house that night from the garden?
43:27And who would have lost everything
43:29if Monsieur Chevenix had lived to sign his new will?
43:35What new will?
43:37The will that disinherited you completely
43:39if you did not marry Monsieur Hugo Trent.
43:41But it was too late, Madame Lake,
43:44for you were already married.
43:46No.
43:47You're wrong.
43:48Stop him.
43:49No, Monsieur Poirot, he's never wrong.
43:51The will it was left in this room,
43:53you could have seen it at any time,
43:54but it was too late to undo what you had already done.
43:56Oh yes, you were married,
43:57but to the man your guardian most disliked.
43:59I was going to tell him.
44:01I hated lying.
44:02I planned to tell him that very night.
44:04No, not to tell him, Madame.
44:05To kill him.
44:06You're wrong.
44:07There's not a word of truth in your story.
44:09It's a lie from start to finish.
44:13That is for a jury to decide.
44:15You sure you're going to be all right, Vanda?
44:29Yes, yes.
44:31Good night, Hugo.
44:33Good night, Mrs. Shevonix.
44:34I hope you know what you're doing, Poirot.
45:01I hope you know what you're doing, Poirot.
45:04Vanda, wake up.
45:27Who is it?
45:35It's suffer, Vanda.
45:41Come downstairs.
45:57It was you, Vanda.
46:13You killed him.
46:16No.
46:17You know it was.
46:20You killed Gervais.
46:23You killed him because you hated him.
46:42Now you must make amends.
46:47I didn't.
46:48What have you hidden in your locket, Vanda?
46:54The bullet that killed your husband.
47:00No.
47:05You must write a note admitting it.
47:11And then...
47:17It is enough.
47:31I knew that you would try something, Mademoiselle Lingard.
47:34But this, that's diabolical.
47:38I had to save her.
47:41I had to save Ruth.
47:43Yes, I know.
47:46And in order to save her, you killed Monsieur Gervais Shevonix.
47:49And you are the real mother of Ruth Shevonix, are you not?
47:55The typist with whom the brother of Monsieur Gervais Shevonix fell in love.
48:00How did you know?
48:02There could be no other explanation.
48:05And in the museum, that was when I saw.
48:09But it's such a beautiful painting.
48:13It's so sad.
48:14It was a painting of a mother who loses her child.
48:22And it was then that I saw that you were also a mother who had lost her child.
48:29And you came to this house, I think, to check up on a daughter that you had lost.
48:33So you took up the position of a researcher.
48:37Yes.
48:39And while you were working, you stumbled across the new will.
48:44He was going to ruin her life with his pride and his snobbery.
48:52And so you decided to take matters into your own hand.
48:56You killed Monsieur Gervais Shevonix exactly as I described.
49:01You then left the study,
49:04taking care to leave no footprints in the soil.
49:07But unknown to you,
49:16a few moments later,
49:17Ruth Shevonix appeared in search of a brooch which she had lost.
49:20She found it,
49:26but in doing so,
49:27left behind her own footprints.
49:31It was then necessary to continue the illusion of suicide
49:33and to establish a false time of death.
49:37It was very clever,
49:38that idea of yours,
49:40to imitate a gun.
49:41You then went into the living room
49:46and were there when Ruth Shevonix came in.
49:53Good evening, Miss Ruth.
49:56Oh, good evening, Miss Lingard.
49:59I found it more significant that you did not tell to me
50:01that Ruth Shevonix entered the living room from the garden.
50:05Well, how could I?
50:07It would have incriminated her.
50:12And there was now but one thing left to do?
50:15The bullet?
50:17I found it by the gong
50:18when you were breaking it from the door.
50:22I wanted to drop it inside the study,
50:25but I didn't get the chance.
50:30And the cufflink of Monsieur Trent?
50:31I stole that from his room.
50:36I knew you'd seen me picking up the bullet,
50:39so I had to have something to show you.
50:42Yes.
50:44You almost succeeded in confusing Poirot.
50:51Chief Inspector.
50:54I think you'd better come along with me, Miss Lingard.
50:57Mr. Poirot.
51:04I don't want Ruth to see me.
51:07I don't care what happens to me.
51:10But please,
51:12don't let her see me.
51:23You have my word.
51:24I don't care what happens to you.
51:27I don't care what happens to you.
51:28I don't care what happens to you.
51:30I don't care what happens to you.
51:31I don't care what happens to you.
51:31I don't care what happens to you.
51:32I don't care what happens to you.
51:32I don't care what happens to you.
51:33I don't care what happens to you.
51:34I don't care what happens to you.
51:35I don't care what happens to you.
51:36I don't care what happens to you.
51:37I don't care what happens to you.
51:38I don't care what happens to you.
51:38I don't care what happens to you.
51:39I don't care what happens to you.
51:40I don't care what happens to you.
51:41I don't care what happens to you.
51:42I don't care what happens to you.
51:43I don't care what happens to you.
51:44¶¶
52:14¶¶
52:44¶¶
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