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#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.
Transcript
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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