I'm not sure we should expect to see each other again.

I couldn't bear that.

I HAVE to see you again.

Please.

God, you're so beautiful!

Ahmed...

..I'm married.

No, no, no!

All right, everybody.

Cut!

Cut.

MAN: Will someone please tell me what these actors are meant to be doing?

I'm wrong, I must be wrong.

I thought this was a love scene!

My dear Valerie, you are not discussing the weather with this man.

You are about to commit adultery with him!

Make a big pause before you say, "I'm married."

Ahmed, count to five, you turn, THEN say your line.

OK, let's see it.

Ahmed...

..I'm married.

- No, darling.

Can you count to five?

- I did.

- Count to ten, then.

This is no hide-and-seek counting, my dear.

SHOUTING: One, two, three, four, five, six, seven, eight, nine, ten, you got it?

Good morning.

Captain Hastings and Monsieur Poirot, guests of Bunny Saunders.

SECURITY: Ah, yes.

HASTINGS: Very young, of course, to be directing his first picture.

What a break, getting Valerie Saintclair to star.

POIROT: Yes.

Films are very boring, Hastings.

But the actors who are paid to deceive us, now, they are interesting, huh?

Quiet on the set!

DIRECTOR: Red light and bell.

BELL RINGS Roll camera.

Scene 218, take 11.

DIRECTOR: Action.

What was that Ahmed doing here?

He's come to see to the horses.

That's his... ..excuse, is it?

Is that not Ralph Walton?

He was a big star before the talkies.

Shh!

WALTON: ..with the horses... Spends too much... Spends too much time hanging... around.

Hanging around here, if you ask me.

Oh, Bernard, he doesn't!

I'm sorry, dear boy, I've dried.

The old brainbox has gone.

- Cut, cut.

All right, everyone.

Let's take a short break.

INDISTINCT CHATTER BELL RINGS Going, going, I don't want to hear any more.

- Mr Re... - And now.

Do you understand?

HASTINGS: Bunny.

- Arthur, old love.

Glad you could make it.

- Wonderful to see you.

May I introduce my good friend Monsieur Hercule Poirot?

Enchante, monsieur.

Miss Deloy, I want to see Miss Saintclair in my office immediately.

Yes, Mr Reedburn.

Look here, I must apologise for Reedburn.

He's the head of the studio.

No matter.

He is obviously a busy man.

Yes, he's just instructed me to sack Ralph Walton.

HASTINGS: Good God!

The truth is, old Ralph is past his best.

But get him on a good day, and you won't find a better actor anywhere.

SAUNDERS SIGHS I suppose I've got to do it.

Reedburn really hates him.

Please, forgive me for just one... What a terrible thing!

Ah, Monsieur Poirot!

Good morning, Your Highness.

Oh, Paul, please... after all you did for my family.

Oh, not at all.

And what brings you to Parade Studios?

Sheer good fortune, huh?

My associate, Captain Hastings... How do you do?

..and your director are very old friends.

- Oh, excellent.

Well, welcome.

- Thank you.

STAGEHAND: Right you are now, Charlie!

VALERIE: You treat me like a child!

But I'm the biggest box office draw this studio has.

True.

But without the studio, you would be nothing.

SHE SCOFFS SOFTLY Without me... you wouldn't even be in pictures.

Perhaps I would have been better off.

Perhaps, but I doubt it.

You're too ambitious for that.

You know, you are even more beautiful when you're angry.

Have you thought any more about... my little proposition, my dear?

Hm?

FOOTSTEPS APPROACHING - You swine!

- Mr Walton, please.

This is highly irregular!

What's the matter, my dear Ralph?

- You're the matter, you skunk!

- What?

You haven't even got the guts to sack me to my face!

Well... Well, Ralph... hmm?

You seem to have lost your manners... as well as your talent.

A shame.

You used to be such civilised company.

To get level with a snake, you have to crawl on the ground.

See that Mr Walton is escorted off the premises at once.

You haven't heard the last of me, Reedburn.

HE SIGHS HE SIGHS HEAVILY Are you all right, Henry?

Of course, I'm all right, and don't call me Henry.

Go.

Oh, Paul!

He's an animal.

There, there.

It's all right, my darling.

I tell you, I've a good mind to withdraw my backing from this picture.

As long as YOU'RE with me, I can bear it.

Just promise me that you won't see Reedburn on your own again.

Yes.

Yes, I promise.

DIRECTOR ON SCREEN: 'Action!'

VALERIE: 'It's a bad wound.

You're lucky it's in your arm.'

ACTOR: 'In my people's struggle, one life counts for nothing.'

'I'll do my best.

'But you ought to see my husband.'

ACTOR: 'I feel that REEDBURN SIGHS 'I shall be safe in your hands.

'Captain...' What is missing, Bunny, is sex appeal!

Eurgh!

The demure doctor's wife is drawn irresistibly towards this handsome young fellow!

She knows she will be unfaithful.

It's the way of women.

They cannot help themselves.

They are putty in the hands of the wild demon that lurks in all of them.

THUNDER RUMBLES WALTON SLURRING: Why can't I have another drink, eh?

Why can't I have another drink?

Does Mr Ruddy Reedburn own this studio, or something?

What if he does?

He doesn't own me!

And I can have a drink if I like.

GLASS SMASHES I'll show him.

DRIVER: Mr Reedburn's house just coming up, miss.

VALERIE: Stop just here, will you?

Three bob, love, please.

Thank you.

THUNDER RUMBLES DOOR CLOSES CAR ENGINE STARTS HORN BLARES HONKS CONTINUOUSLY TYRES SCREECH HE SIGHS CAR GEAR CREAKS THUNDER RUMBLES No, Inspector.

Something really terrible has happened.

Please send some men at once.

Thank you.

TELEPHONE RINGING - Hello.

PAUL: 'Is that Hercule Poirot?'

- Yes.

- 'It's Paul of Maurania.'

- Ah.

Your Highness.

- 'Please, Poirot, Paul.'

Pardon.

Paul.

'The most awful thing's happened, Poirot.

'I desperately need your help.'

- Yes.

Valerie's in trouble.

Serious trouble.

- 'Mon Dieu.

Is she with you?'

- She's just telephoned.

'I'll do anything I can to help.'

You... you see, Poirot... ..Valerie and I are engaged to be married.

'I had no idea.'

No, no.

No, it's not generally known.

My family would never approve if there was the slightest hint of scandal.

Where is Mademoiselle Saintclair now?

She's at a house near Reedburn's.

It's called The Willows.

'How did she come there?'

She just ran to the nearest house.

'Is she implicated in a criminal matter?'

'I fear so.'

Whatever your family might think, my friend, you must call the police.

- 'That's already happened.'

- They have been called?

- 'Yes.'

- Excellent.

Be straightforward with them and they will be discreet.

'I was against it at first, 'but the people at The Willows, the Oglanders, 'insisted.'

- Yes.

'But I'm worried about the publicity.'

I will do everything in my power to protect your reputation.

'But I must know exactly what happened.'

THUNDER RUMBLES CAR APPROACHING DOOR SLAMS, FOOTSTEPS APPROACHING BELL RINGS BELL RINGS CONTINUOUSLY Yes, yes.

Yes, yes, yes, yes.

All right.

Police.

Chief Inspector Japp.

We've had a report of a disturbance here.

- Disturbance?

- In the library.

- And you are?

- Frampton.

Mr Reedburn's manservant, sir.

- Where is it, then?

- The library?

It's over here, sir.

Er, one moment, sir.

FRAMPTON: Holy mother of God!

JAPP: Don't touch, sir, if you don't mind.

WOMAN: Well, it all happened so quickly, Chief Inspector.

The four of us were playing bridge, when, suddenly, there was this commotion at the window.

We were astonished to see a young lady beating at the panes.

Absolutely terrified, she looked.

Did you happen to notice what time this was, Mrs Oglander?

It must have been around ten.

Yes, I remember the clock in the hall chiming the hour a little before.

Please go on, madam.

Well... Ronnie got up to let her in.

She was very out of breath.

It seemed she'd run across the gardens from Mon Desir.

Did she say anything?

Yes.

"Murder.

He's been murdered."

"Murder.

He's been murdered."

You're sure of that?

I shall not forget those words for as long as I live, Chief Inspector.

Then she fainted.

Poor girl.

And, of course, we immediately telephoned for the police.

Hmm.

Did any of you recognise her?

I thought there was something vaguely familiar about her, but it was Geraldine who guessed that it was Valerie Saintclair.

She's a tremendous fan of hers.

Aren't you, darling?

POIROT: Now, remember, mon ami, it is important that we keep a discreet silence about our connection with Prince Paul and Mademoiselle Saintclair.

HASTINGS: Oh, yes.

Right.

The police took away the body earlier this morning, sir.

Otherwise, the room is untouched.

And the curtains were drawn last night?

Yes, sir.

I draw all the curtains every evening.

So, who has drawn back this one?

Couldn't say, sir.

Possibly Mr Reedburn did.

POIROT: What is this house?

That's The Willows, sir.

Neighbours of Mr Reedburn.

Name of Oglander, I believe.

Ah, yes.

The Oglanders.

Excuse me, please.

Thank you.

This window overlooks the drive, non?

FRAMPTON: That's right, sir.

Tell me, was Monsieur Reedburn expecting any visitors late last night?

He didn't say so, sir.

But after Mr Saunders had left... - Bunny Saunders?

- That's right, sir.

He and Mr Reedburn were viewing rushes in the projection theatre.

Mr Saunders left at about 9.30, I think it was.

And later?

Well, sir, Mr Reedburn gave instructions he was not to be disturbed.

In the library, that is.

And you saw nobody arrive?

No, sir, but they may have come in by the side door without my knowing.

May I?

Thank you.

Was Monsieur Reedburn in the habit of admitting visitors late at night by this door?

I believe so, sir.

And you heard nothing from the library after Monsieur Reedburn had retired?

Well, I can't be sure, but I thought I heard a woman's voice.

- A woman's voice?

- Yes, sir.

I may have imagined it, of course, because that's what I would have expected to hear.

If you see what I mean, sir.

Quite so.

We're looking for a blunt instrument.

Quite wide.

Not like a poker, but heavy.

You start upstairs.

Dear, oh, dear.

Here we go again.

My dear Chief Inspector Japp.

You have cracked this case already perhaps, non?

Won't be long, Poirot.

Have you ever heard of a Valerie Saintclair?

- Saintclair?

- The film star.

I've just been talking to her, as a matter of fact.

Very intelligent girl.

It was her that discovered the body.

- Film star.

JAPP: Oh, yes.

She was frightened, of course.

So she ran off to that house over there.

The Willows.

But what was she doing here, Inspector?

I understand it was very late.

- Business.

Mr Reedburn was a film producer.

They don't keep office hours, you know, Poirot.

Valerie, er, Miss Saintclair, that is, spotted an intruder, which makes my life a lot easier.

There's a lot of gypsies around here, apparently, and Mr Reedburn wasn't exactly a favourite of theirs.

He tried to have them moved on several times.

What was the cause of death, would you say?

A blow to the back of the head.

There was also bruising between the eyes but the fatal injury was to the head.

You can still see the blood.

He was lying on his back.

Correct.

Perhaps he fell back against this.

JAPP: Well, there'd be blood traces on that arm.

Unless they were washed away.

Why would anyone want to make an accident look like murder?

POIROT: True enough.

True enough.

But one thing still puzzles me.

Why does Mademoiselle Saintclair run to The Willows... ..instead of the house at the front which is much nearer?

JAPP: Oh, that's simple.

As the body was here, and this curtain was drawn back, the lights from that house would be the first she'd see at night.

Pfft!

But of course.

You are several steps ahead of me, my dear Chief Inspector.

Oh, you mustn't get discouraged.

When you've been around as long as me, you develop a nose for this sort of thing.

POIROT: Mm.

Ah, quelle horreur!

Poor Valerie Saintclair had to come this way in the dark.

Do you reckon Japp's onto something?

This gypsy business, I mean.

A man like Reedburn had enemies, huh?

Too many.

Would you mind waiting in here for a moment, sirs?

Merci.

Ah!

La famille, eh, Hastings?

No bond is so strong.

HASTINGS: Yes.

- Good morning, gentlemen.

- Bonjour, mademoiselle.

- You're from the police?

- No, no, no, not at all.

Pardon.

Voila.

We are acting in a private capacity for a dear friend of Mademoiselle Saintclair.

I see.

How can I help you?

You must excuse the room, by the way.

The police have instructed us to leave things exactly as they were.

No, no, of course.

I understand.

CLOCK TICKS You were playing bridge last night?

Yes.

And you yourself were sitting...

There, facing the window.

Ah.

I was partnering my mother, and had just bid "one no-trump" when it happened.

When Miss Saintclair appeared at the window.

- You had been playing for long?

- Perhaps an hour or so.

We'd played several rubbers.

Mademoiselle Saintclair is still here, is she not?

Yes.

Thank you.

VALERIE: Come in.

Monsieur Poirot, Captain Hastings.

Thank you for coming.

Mademoiselle.

- Please.

- Merci.

I saw you on the set yesterday.

Ah.

Paul insisted on calling you last night.

Perhaps you could tell us what happened?

It was dreadful.

Utterly dreadful.

You might as well know.

Reedburn was blackmailing me.

I can't tell you why, so please don't ask me.

But for Paul's sake... for both our sakes, I'd tried to come to terms with him.

Dear God, I can't say I'm sorry he's dead.

But, believe me, I didn't kill him.

I swear it.

Just tell me what happened, my dear lady.

I agreed to meet him last night.

I was desperate, you understand.

Well, last week he forced me to sign another three-year contract with his studio.

But he wanted still more.

More?

He said he was in love with me.

I don't need to tell you what he was after.

I could see no way out.

He asked me to meet him last night in the library at a quarter to ten.

Courage, mademoiselle.

When I entered, it appeared to be empty.

Then I saw it.

By the window... a body on the floor.

To my horror, I realised it was Reedburn.

I could tell at once he was dead.

I was about to call out when something made me look around.

A curtain twitched on the other side of the room and my heart stopped.

At the foot of the curtain, I could clearly see a pair of feet.

Someone was there.

My God, all I could think of was getting away, Monsieur Poirot.

I saw the lights of this house in the darkness and I just kept on running u-until I got here.

It must have been a great shock, mademoiselle.

But tell me... ..the window where you found the body.

It was at the back of the library, overlooking the garden, yes?

Yes.

How was the curtain on this window?

Shut?

No, i-it was drawn back.

Hmm.

And on the other windows?

I-I think all the other curtains were closed.

POIROT: And this pair of feet.

It was a man or a woman, would you say?

Oh, a man, I'm sure.

Hmm?

Well, they were boots rather than shoes.

Like hobnail boots, only very worn and dirty.

POIROT: I see.

Begging your pardon, sir, Mrs Oglander would like a word with you, if you wouldn't mind waiting in the drawing room.

No, no, no.

By all means.

GRANDFATHER CLOCK CHIMES Mademoiselle Oglander should have bid three spades, not one no-trump.

Tiens.

Deux, quatre, six... POIROT WHISPERS There are only 51 cards here.

There is one card missing.

Mon Dieu, but of course!

Que je suis idiot!

Hastings, this explains everything.

There is no king of clubs.

Thank you very much for waiting, gentlemen.

Madame.

I wonder if I might ask a small favour of you, Mr Poirot.

I am at your service, madame.

Well, you see, my husband is not a well man.

And I'm terrified that if the newspapers get hold of the fact that Miss Saintclair is staying here, we shall have no peace.

Can I therefore rely on your discretion, Mr Poirot?

I have not seen or heard of Mademoiselle Saintclair.

You may rest assured, madame.

Thank you so much.

I'm so grateful.

May I please ask you something, madame?

Which of you first noticed Mademoiselle Saintclair at the window?

Well, it's difficult to say, really.

The commotion distracted us all.

But you could see her clearly from your seat?

Oh, yes, indeed, I was facing the window.

I was probably engrossed in the game.

I'm afraid I'm a bit of a dunce when it comes to bridge.

You're up to something, Poirot.

I'm dashed if I know what.

Patience, my friend.

All right, get him in line.

All right, all right.

None of your half larks.

Just get 'em off.

LAUGHTER This is a serious enquiry.

See your name's on the labels.

Then give your boots to the constable.

What?

You'll get 'em back, don't worry.

They're going to be looked at by a film star.

JAPP SNIFFS God help her.

You know, Poirot, there's more to this modern art than you might think.

It isn't just that they don't know what they're doing, even if it might look like it.

This is most unpleasant, Hastings.

A pal told me that what they're trying to do is to show all the sides at the same time.

It saves us the trouble of walking round the back.

It's quite a clever idea in a way.

I mean, take this fellow, for instance.

I mean, that bit might be his front and his back as well, if you get my meaning.

It's all quite scientific, really.

But most of the time, they're half mad with booze and drugs, so what they see isn't all that reliable.

It's the artistic temperament, that's the problem.

What have you got there?

Ah, Bunny.

What are you doing here?

Looking for you and Monsieur Poirot, actually.

Prince Paul said you'd be here.

- Well, what's up?

- Well, er... Look, it may be nothing important...

But when I was driving back from here last night, I nearly ran straight into Ralphie Walton coming the other way, swerving like a mad dervish.

So you think he was coming here to see Monsieur Reedburn, intent on revenge?

Well, I-I don't know, but... ..he certainly didn't look like a man paying a social visit.

He doesn't wear hobnail boots, does he?

Walton, I mean.

FRAMPTON: Beg your pardon, sir.

But there's a telephone call for Mr Saunders.

- For me?

- Yes, sir.

Who on earth could be calling me here?

Er, excuse me.

So... did Ralph Walton kill Reedburn?

Ah... That is the big question, mon ami.

What about the missing bridge card?

It is in my pocket.

I don't understand.

Well, there is no great mystery.

The missing card... ..was in the box all the time.

It had simply not been taken out with the others.

C'est tout.

Well, that was Prince Paul... to say that Ralph Walton has been taken to the local cottage hospital.

Crashed his car near here in the early hours.

Good heavens!

Is he all right?

Broken collarbone and a hangover, but he's comfortable, apparently.

Look, I-I think I'll trot over to see the old boy now.

Hastings, why not accompany Monsieur Saunders, huh?

I must return to The Willows and I... Well, I think it best if I go alone.

Oh, all right, if you think so.

Besides, you can question Monsieur Walton about last night, perhaps.

Right.

Hop in, then, Arthur.

Right.

Oh, this is nice.

CAR ENGINE STARTS SAUNDERS: I saw Freddy Dixon driving one down at the track.

So I thought I'd get one myself.

HASTINGS: Twin SU carbs, isn't it?

Yeah, it's a bit thirsty.

But quick.

Morning, sir.

Mr Poirot?

I must apologise for this unexpected return, madame.

I was anxious to fully set your mind at rest.

You have a second daughter, madame?

Had.

She died, I'm afraid.

I am sorry to hear you say that.

In my country, we Belgians have great respect for la mere de famille.

The mother.

She is all-important.

Do not worry.

I think it unlikely that the police will ever learn the truth.

You will permit me, madame, to return the missing card... ..to the pack?

To play bridge for over one hour with only 51 cards, that is not very believable, madame.

You make one other small mistake.

You tell me that you're sitting here, facing the window, when Mademoiselle Saintclair appeared.

But your daughter tells me she also is sitting here so perhaps you are sitting in the same chair, non?

Nothing has escaped you, it seems, Mr Poirot.

FOOTSTEPS APPROACHING POIROT: You are feeling better, mademoiselle?

Yes, much better, thank you.

POIROT: Mademoiselle.

I found these in the house of Monsieur Reedburn.

What have they to do with me?

You are a good actress and a loyal daughter... ..Mademoiselle Oglander.

This is your father, Monsieur Oglander.

Non?

And this man, Monsieur Hawtrey, he is also your father.

You can't be serious.

Mr Poirot knows everything, dear.

Believe me, my dear lady, I make no judgment in this matter.

Monsieur Hawtrey tries to save his business with a little false accounting.

Fathers have done worse for the sake of their children.

But Monsieur Hawtrey is caught, and in his shame, he changes his name to Oglander.

When your family come to live here, Mr Reedburn discovers these facts and tries to blackmail you, is that not so?

I lived in dread, Monsieur Poirot, that he would divulge everything.

Paul could never marry me then.

I think it is best... ..if you keep these, mademoiselle.

And have no fear... my lips are sealed.

I say, Val, what are you doing up?

I should be careful.

We just saw that little French chap snooping his way back up here.

Vive la famille.

Au revoir, madame.

BICYCLE BELL RINGS JAPP: Like a lift back to town, Poirot?

Er, that is most kind of you, Inspector, but I have to meet Captain Hastings back at Mon Desir.

Ah, yes.

By the by, how did you get on at The Willows?

Er, well, nothing of any interest, I have to admit.

What about your gypsies?

Drawn a blank so far.

Difficult blighters to deal with.

We'll find him sooner or later, don't you worry.

I admire your persistence, my friend.

Little grey cells are all very nice, Poirot.

But it's dogged as does it.

BOTH CHUCKLE Yes, well, thank you very much, Inspector, I will try and remember that.

Au revoir.

DOOR OPENS HASTINGS: Ah, Poirot!

How is Monsieur Walton?

Seemed pretty cheerful, all things considered.

Claims he intended to give Reedburn a good hiding, but by the time he'd got his courage up, he was in no fit state.

It does not matter, Hastings.

The case is closed.

You mean you've caught the murderer?

- There is no murderer.

- What?

There is no murderer because there is no murder.

Reedburn's body was found in that window with a hole in his head.

Wrong window, Hastings.

This was where the body lay first.

Regarde, mon ami.

You see this bloodstain?

Uh-huh?

Now, remember, Chief Inspector Japp said that there was bruising on the face of Monsieur Reedburn.

The reason?

Because someone punches him between the eyes.

Monsieur Reedburn falls backwards, hits his head against this arm... Pfft!

And slips to the floor.

That is an accident.

It is not murder.

But if he fell here... why did he end up over there?

It is not impossible, you know, to drag the body across the floor.

But why take it over there?

Because it was essential for their plan.

THEIR plan?

Yes.

Valerie Saintclair and Ronnie Oglander.

The father is too ill, so it had to be the son.

You see, mon ami, Mademoiselle Saintclair visited Monsieur Reedburn last night... accompanied by Ronnie.

There was a quarrel, no doubt, and the young Monsieur Oglander punched Monsieur Reedburn in the face.

He fell backwards and hit his head.

Voila.

But how do you know all this?

Because of that window.

Now, remember, this was the only window with its curtains drawn back.

Yes?

Why?

To give a view of The Willows, the Oglanders' house.

In order to make it appear that Valerie Saintclair went to The Willows by chance, it was necessary for the body to be found over there.

I see.

But... You have another question, mon ami, non?

Well... yes.

I mean, what's the connection?

Between Valerie Saintclair and the Oglanders?

Ah.

INDISTINCT CHATTER What was that Ahmed doing here?

He's come to see to the horses.

Oh.

That's his excuse, is it?

He spends too much time hanging around here, if you ask me.

Oh, Bernard, he doesn't!

I'm still your husband, Vivienne.

Just don't ever forget that.

Cut!

APPLAUSE - You look beautiful.

- Excellent.

Bunny, excellent.

- Very good, Ralphie.

- Thanks.

SAUNDERS: Right, well, we'll print that one.

Now, then, onwards and upwards.

We'll move on to scene 64.

As long as that one's clear.

Monsieur Poirot, have the police made an arrest?

It seems not.

And, er, from what I hear, the trail has gone cold.

Well, the very idea that Val could have been involved was always preposterous.

ASSISTANT DIRECTOR: Open up the doors and get some air in here!

- But I thought... - No, no, no, no, Hastings.

Look, it seems to me... My friend, you are barking up the wrong bush.

The case of Monsieur Reedburn will remain, I fear, one of that great body of unsolved cases.

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