First broadcast 23rd September 2007.
Miss Marple finds herself on a bit of a holiday and staying at the very posh Bertram's Hotel, where she stayed as a child and for which she has very fond memories.
Geraldine McEwan as Miss Marple
Isabella Parriss as Young Miss Marple
James Howard as Hotel Doorman 1891
Adam Smethurst as Cab Driver
Tony Bignell as Newsboy
Vincent Regan as Mickey Gorman
Mark Heap as Mr Humfries
Emily Beecham as Elvira Blake
Mary Nighy as Brigit Milford
Martine McCutcheon as Jane Cooper
Charles Kay as Canon Pennyfather
Ed Stoppard as Malinowski
Nicholas Burns as Jack Britten / Joel Britten
Mica Paris as Amelia Walker
Francesca Annis as Lady Selina Hazy
Peter Davison as Hubert Curtain
Shenton Dixon as Louis Armstrong
Polly Walker as Bess Sedgwick
Hannah Spearritt as Tilly Rice
Danny Webb as Mr Mutti
Stephen Mangan as Inspector Larry Bird
Sarah London as Miss Tibbs
Georgia Allen as Mrs Rice
Laurence Richardson as Policeman
Uncredited actress as Miss Evershot
Miss Marple finds herself on a bit of a holiday and staying at the very posh Bertram's Hotel, where she stayed as a child and for which she has very fond memories.
Geraldine McEwan as Miss Marple
Isabella Parriss as Young Miss Marple
James Howard as Hotel Doorman 1891
Adam Smethurst as Cab Driver
Tony Bignell as Newsboy
Vincent Regan as Mickey Gorman
Mark Heap as Mr Humfries
Emily Beecham as Elvira Blake
Mary Nighy as Brigit Milford
Martine McCutcheon as Jane Cooper
Charles Kay as Canon Pennyfather
Ed Stoppard as Malinowski
Nicholas Burns as Jack Britten / Joel Britten
Mica Paris as Amelia Walker
Francesca Annis as Lady Selina Hazy
Peter Davison as Hubert Curtain
Shenton Dixon as Louis Armstrong
Polly Walker as Bess Sedgwick
Hannah Spearritt as Tilly Rice
Danny Webb as Mr Mutti
Stephen Mangan as Inspector Larry Bird
Sarah London as Miss Tibbs
Georgia Allen as Mrs Rice
Laurence Richardson as Policeman
Uncredited actress as Miss Evershot
Category
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TVTranscript
00:00:00Afternoon, Miss Evershot.
00:00:17Good afternoon.
00:00:18And this must be your little niece.
00:00:20Indeed.
00:00:21Then it gives me great pleasure to welcome you to Bertrand's Hotel, Miss Marple.
00:00:30There you go, Miss. Enjoy your stay.
00:00:40Straight up the press. Missing millionaire pronounced dead after seven years.
00:00:44Who gets the pike fortune?
00:00:46Is this your first visit to Bertrand's, ma'am?
00:00:49Miss Marple, I used to stay here often, but a very long time ago.
00:00:53Well, it gives me great pleasure to welcome you back to Bertrand's Hotel.
00:00:56Miss Marple.
00:01:00I'm sorry, ma'am. Has it changed that much?
00:01:17Quite the opposite. It hasn't changed at all.
00:01:21How very peculiar.
00:01:23One, two, one.
00:01:53It's the Festival of Britain, Mr. Porter. I've never seen Bertrand's busier.
00:01:56The whole of society is disabled.
00:01:58Ah, no, I'm afraid Miss Otis regrets she's unable to lunch today.
00:02:02Yes, I'm so sorry.
00:02:03Oh, I know.
00:02:05Thank God. Just wait until you see the rooms.
00:02:08God.
00:02:10Ah, no.
00:02:11Caramel and Berks, thanks.
00:02:13Hello, Henry. I'm back.
00:02:16This is my day for I'm Bridget.
00:02:18Yes, sir.
00:02:20Yes, sir.
00:02:22Yes, sir.
00:02:23Um, oh, just a minute.
00:02:25There's a band. Did anybody order a band? Whose is the band?
00:02:29Jane. Yes, sir.
00:02:30Those roses and a tiger skin rug to Mr. Weisswell as well.
00:02:33Now, please. Yes, sir.
00:02:35Ah, ma!
00:02:36Your highness. Oh, no, no, no.
00:02:38It's Tissie.
00:02:39Oh, no, no. It's Catman.
00:02:41You can keep yourself.
00:02:43I'm sorry.
00:02:45Yes, sir.
00:02:56I'm Malinowski from 321.
00:02:59Good evening.
00:03:00I happen to find this dropped in the street.
00:03:03I believe the intended recipient is a guest here.
00:03:05Bess, you said to me.
00:03:07Lady Cedric does not have a reservation at Bertrand's.
00:03:10Ah, that is such a shame.
00:03:12I wonder if she could be using another name?
00:03:15Perhaps you could pass it on.
00:03:18Thank you so much.
00:03:22Sorry.
00:03:23I'm sorry.
00:03:26Sorry.
00:03:27Are you all right?
00:03:28Yes, sir.
00:03:29I'm sorry.
00:03:30You have a reservation for us, Jack Britton and Jill Britton.
00:03:34We have a twin room.
00:03:40This walk-up.
00:03:41We have two keys.
00:03:43We have two keys.
00:03:44That's a super baggy.
00:03:45Welcome to Bertrand's.
00:03:47Truths, may I say, what an honor.
00:03:51I hear the Albert Hall is completely sold out.
00:03:53Oh, that's just, you can't, I mean.
00:03:55Is this enough of a temp?
00:03:57No, I can never tell with your funny money.
00:04:00I need that, ma'am.
00:04:01This way, please.
00:04:03Jane.
00:04:03Jane, is that you?
00:04:05Oh, Jane.
00:04:06How wonderful to see you.
00:04:08Selina, how well you look.
00:04:10As do you, and I sickly adore your...
00:04:13...puntuality.
00:04:17You remember Sir Richard Blake?
00:04:19Blake Eyre, the aviation tycoon, my third cousin once removed.
00:04:23We used to summer with him at Mayfield's house, till Mummy got ill.
00:04:27Wonderful man.
00:04:29Of course he owned Bertrand's.
00:04:30Didn't his plane go down over the Indian Ocean, Sir Richard?
00:04:34Missing, presumed dead.
00:04:35Of course, it's over seven years now, so officially he is dead.
00:04:39But that's the family's solicitor down there.
00:04:42Look at him.
00:04:43That's it.
00:04:44Shift is a jackdaw.
00:04:46So, the Blake family are gathering for the reading of the will?
00:04:50Well, there's only really his daughter, Elvira, and her mother, of course.
00:04:53If she turns up.
00:04:54If she's not engaged in high-level discussions with NATO,
00:04:57or beating a land speed record, or wrestling with a grizzly bear.
00:05:02Who wrestles grizzly bears?
00:05:04Bess Sedgwick.
00:05:05The Bess Sedgwick.
00:05:08Oh, there's Elvira.
00:05:09All that money.
00:05:11Look at those ghastly shoes.
00:05:13Keeps her brushed under a rug at some finishing school, I believe.
00:05:17Still, the life best set with you.
00:05:19It's quite surprising.
00:05:25Oh, no.
00:05:26Oh, Mr. Armstrong.
00:05:43My room ain't big enough for the kind of rhythm we got going on.
00:05:46So, I was going to kind of wonder if we could practice in here.
00:05:50Here.
00:05:51Here.
00:05:51In here.
00:05:53In this room here.
00:05:56Yes.
00:05:57Yes, of course, Mr. Armstrong.
00:05:58But, for the sake of the Bertram's reputation,
00:06:02if I could ask you not to be too...
00:06:04Jazzy.
00:06:06Jazzy.
00:06:07One, two, one, two, three, four.
00:06:13That's what it was.
00:06:15Louie, may I join you?
00:06:17Amelia Walker, now the party's starting.
00:06:21Thank goodness.
00:06:23Isn't that Amelia Walker, the jazz singer?
00:06:25It's a glimpse of stocking, was looked on as something shocking,
00:06:28now heaven knows anything goes.
00:06:32Good job, remember.
00:06:35Good authors, too.
00:06:36Who once knew better words,
00:06:38now only used for letter words, right and pro.
00:06:42You've got a maid, a guest.
00:06:45Oh, my goodness.
00:07:05That's Beth Sedgwick.
00:07:10Hello, world.
00:07:11Come on, guys.
00:07:12Pick it up.
00:07:13Let's go.
00:07:15Oh, I hardly recognised you.
00:07:30I admire how you've grown.
00:07:32How nice you look.
00:07:34Excuse me?
00:07:35They're just suggestions.
00:07:36The sort of thing that a mother might say to a daughter
00:07:38when she hadn't seen her for six years.
00:07:41Yes, that's sweet.
00:07:42Oh, yes.
00:07:49Please, excuse me.
00:07:50Lady Sedgwick, is it?
00:07:53I'm Nadislaus Malinovsky.
00:07:54I've got to meet you, Mr Malinovsky.
00:07:56Do you know a famous racing car driver?
00:07:58Yes, I am.
00:07:59Oh, gosh, how exciting.
00:08:01You must tell me all about it when we dance.
00:08:03That's not a good idea, Elvia.
00:08:05Oh, really?
00:08:06Why, I think it's a marvellous one.
00:08:07Oh, really?
00:08:10The world has gone mad today
00:08:13Oh, yay!
00:08:13Good's bad today
00:08:15And black's white today
00:08:17And day's night today
00:08:19When most guys today
00:08:21That women prize today
00:08:23Are just silly tick alone
00:08:26Tilly? Tilly, are you up here?
00:08:41Tilly?
00:08:43Oh, here you are. Mr Humphreys has been looking for you.
00:08:47Mr Humphreys can drop dead.
00:08:49No, I don't like the taste.
00:08:50You never sound like Marlena Dietrich.
00:08:52Yeah, I don't want to.
00:08:53Yeah. Who got you that?
00:08:58I got me that.
00:09:00Me mum always said, keep your savings in jorts.
00:09:02Well, look at your savings like them.
00:09:07You're such a goody-goody junkie, Pa.
00:09:10He, I ain't gonna be a maid for the rest of my life.
00:09:23Good heavens.
00:09:27All these Louis cams.
00:09:28The reproductions, all of them.
00:09:30But how can you tell?
00:09:31The difference between genuine Louis cams and reproduction Louis cams
00:09:34is that genuine Louis cams are not left lying around the dining rooms of London hotels.
00:09:38Let's get the same, sir.
00:09:40One.
00:09:43Two.
00:09:46Three.
00:09:46Three.
00:09:46Mickey.
00:10:01Mickey.
00:10:03What the hell are you doing here?
00:10:06Waiting for you.
00:10:14You're married.
00:10:14That I am.
00:10:18Married a lovely lass.
00:10:20Back in Ballygowlan.
00:10:21So where's the will reading to be in the hotel?
00:10:37Oh, no.
00:10:37In Curtin's office.
00:10:39Oh, sorry.
00:10:40So sorry.
00:10:42Hats, you see.
00:10:43My hats.
00:10:43You wear all these?
00:10:46No, no, no, no, no, no.
00:10:47These hats.
00:10:48My hats.
00:10:50Yes.
00:10:51Do you wear your hats?
00:10:55Why, I wear my hats.
00:10:57These ladies' hats.
00:10:58Multi-gentlemen.
00:10:59How charming.
00:11:00May I see?
00:11:01No.
00:11:02Secret hats.
00:11:03My designs.
00:11:04Client's eyes only.
00:11:05No hats.
00:11:06No hats for you.
00:11:07What a extraordinary fella.
00:11:11He's quite famous.
00:11:12He's of Hanover.
00:11:14Oh, yes.
00:11:14It would be wonderful if we could wear hats like those.
00:11:16Ah, there.
00:11:17And that's a terrible place.
00:11:19Oh.
00:11:21Oh.
00:11:23Oh.
00:11:23Oh.
00:11:24I have a glass of water, sir.
00:11:31Give him some water.
00:11:32Quickly.
00:11:33Give him some water.
00:11:34Give him some water.
00:11:35Let's undo his collar.
00:11:53Come in.
00:11:54Evening, Mum.
00:11:58Come, come.
00:12:02Now, there's the smile of a girl with a night off.
00:12:05Me, Mum?
00:12:06Oh, no.
00:12:06Just had some good news, it's all, Mum.
00:12:12Good night.
00:12:17Hmm.
00:12:18Good night.
00:12:32Good night.
00:13:03Oh, that's me, Tom. Night, Tilly.
00:13:33Oh, that's me.
00:14:03Oh, that's me.
00:14:33Oh, that's me.
00:15:03Oh, that's me.
00:15:34Well, you've been enjoying your eggs, won't you, Mum?
00:15:36Good morning to you.
00:15:38Good morning.
00:15:40Tilly? Tilly, you up here?
00:15:43Just asking for you and I said that I...
00:15:45Good morning.
00:15:54Good morning.
00:16:08You're in for a treat, Inspector Byrd?
00:16:20Golden flowery, first flush, tippy orange Pico.
00:16:25This fine tea is worth considerably more than its weight in gold.
00:16:31Lovely cuppa.
00:16:32Mm, lovely cuppa.
00:16:35So, who had contact with the deceased last night, sir?
00:16:38Tilly did the evening orders, so any number of guests?
00:16:42I'll need to speak with all of them.
00:16:43I'll need to speak with all of them.
00:16:44Bertram's has a reputation to...
00:16:47A girl's been murdered, sir. Strangled?
00:16:49Yes. Yes, of course.
00:16:52And if I may say so, Inspector, I was expecting someone a little more mature from Scotland Yard.
00:17:00I was 22 when I was made commander of my company at Normandy.
00:17:04I saw more there in a week than you'll learn in a lifetime.
00:17:07So, you keep running your nice little hotel, and leave the grown-up police work to me.
00:17:18Where were you both last night between one and three?
00:17:21In my room. Just talking.
00:17:23You were absent from your post for an hour last night.
00:17:26I was, um... I was out the back. On my break.
00:17:31For an hour?
00:17:33I was in my room. Humphreys can confirm that.
00:17:36I ordered room service, and he brought it up.
00:17:38The manager of the hotel brought up your tray.
00:17:43I was in my room with a headache.
00:17:45I had a headache and retired.
00:17:47How are you feeling now?
00:17:48Much recovered, thank you.
00:17:50Quite fine.
00:17:51But I'm sorry to hear about Tilly Rice.
00:17:53Rice? How do you know her surname, Mr. Malinovsky?
00:17:55I told nothing, Inspector.
00:17:56But then, whoever knew this is a maid in a hotel?
00:17:59Tilly Rice was wearing a hat rather like Bess Sedgwick's.
00:18:03Didn't you design that for her?
00:18:05I designed for Lady Bess, yes.
00:18:07But Mooty's hats are not worn by maids.
00:18:13Well, we were both in our room all night.
00:18:16So you saw nothing?
00:18:17No.
00:18:20No, it's Miss, er... Marple, is that correct?
00:18:23Yes, Inspector, quite correct.
00:18:25You saw the deceased last night?
00:18:27Yes.
00:18:28She said she'd had some good news.
00:18:30But I suppose whatever that news was, it didn't end up being very good at all, did it?
00:18:34No.
00:18:35Might I ask, how was she killed?
00:18:38She was strangled.
00:18:40Oh.
00:18:41Poor creature.
00:18:44How was she dressed?
00:18:45In a coat and hat, quite smart.
00:18:49Really?
00:18:50How very odd.
00:18:51You see, a girl only dresses in a smart hat and coat if she intends to go out of an evening.
00:18:57And yet last night was not her night off.
00:19:00I wonder.
00:19:02Would it be possible to see the body?
00:19:06See... see the body?
00:19:08Madam, this is a police investigation.
00:19:11It's not an outing of the Derby and Joan.
00:19:14Here.
00:19:15You know, this, a murder, and with Beth situation.
00:19:20Yes.
00:19:21I feel a lot after her if you're out of the picture.
00:19:22Yes, of course.
00:19:23As if I haven't got enough going on, this was a damned clue.
00:19:26And now this, a murder, and with Beth Citroen.
00:19:38Yes, I feel a lot happy if you're out of the picture.
00:19:40Yes, of course.
00:19:41As if I haven't got enough going on with this, it's damned full meeting.
00:19:45Three blanking guests expect it as it is, and I'm almost out of American rooms.
00:19:50Yes, my dear.
00:19:55Bores.
00:19:56I beg your pardon?
00:19:58That's the problem with balls instead of skeins.
00:20:01They roll off into the trickiest places.
00:20:08Well, I should be getting back to my office, so I'll...
00:20:11Mr. Gerden, I have a question for you.
00:20:14It's about my death.
00:20:15Ah, hello.
00:20:30Hello.
00:20:31And I suppose these would be the stairs to the roof.
00:20:35Out of bounds, is it?
00:20:37If I'm not too long, ma'am, there is another way onto the roof.
00:20:49If I died, what would happen to my share of Richard's will?
00:20:56Half would pass to your daughter, and half would go to the newly formed Blake Foundation for the Arts.
00:21:02Of which you are chief executive.
00:21:04It was your husband's...
00:21:06I'm sorry, ex-husband's wish that I'd be responsible for his continued financial affairs.
00:21:13Over the last seven years, what has happened to Richard's estate?
00:21:15It has been held in trust.
00:21:17That you mortgaged the casino in Monte Carlo?
00:21:19How did you know?
00:21:20How did you know?
00:21:21A friend, on the board of the bank.
00:21:23I had to raise capital to offset some poor investment on Sir Richard's part, so that his loved ones would be provided for.
00:21:32How philanthropic of you.
00:21:34So you won't mind my perusing your accounts?
00:21:40Well, I don't have them here.
00:21:42At the will reading, then.
00:21:44I'll just check through your books, make sure everything's in place.
00:21:49Just in case anything should happen to me.
00:21:56Right, lads. Let's get the stretcher up here, quick as you can.
00:21:58Come on, Richard.
00:22:03Come on, Constable.
00:22:15Poor girl.
00:22:16The thing is, Mum, is that I'm certain that hat's not hers.
00:22:19I've never seen it before, and Tilly, well, she'd always be the first to show off new clothes.
00:22:24Really?
00:22:25I don't suppose it would have hurt just to have a little look.
00:22:34That's very interesting.
00:22:36My cousin was in service at the ventures, and she told me all about you.
00:22:39Not gossip, you understand, not be so bold, but just how you notice things and how you solve things.
00:22:44And Tilly being killed, well, nobody's interested in a mate being murdered, and I thought maybe you could help.
00:22:51If I'm not speaking out of turn.
00:22:52Of course not.
00:22:54Because Tilly had a lot more money than she should have done.
00:22:57She always kept this diary.
00:22:59Her last entry, the night she was killed, was this.
00:23:04One, two, three.
00:23:06Money received?
00:23:07Yeah.
00:23:08I think one, two, three was someone she was meeting.
00:23:11How very interesting.
00:23:14I'll help however I can.
00:23:16Oh, thank you, miss.
00:23:17And if you don't mind, I'd like to help, too.
00:23:20Because I notice things like what you do.
00:23:23What have you noticed at Bertram's?
00:23:26Oh, there's all these things going on.
00:23:28Like how this place has never changed, that's not right.
00:23:31Tell me, Jane.
00:23:32What is an American room?
00:23:34Well, Bertram's makes most of its money from its American visitors.
00:23:38The Americans like a little bit of luxury as standard, so we give them extras.
00:23:42Like a wireless and a bathroom in their room.
00:23:44England, as you see, here hasn't existed for donkey's years, but it's what the Americans want, so we make it up for them.
00:23:51I thought Bertram's was too good to be true.
00:23:54You look disappointed, miss.
00:23:56I am.
00:23:57But I'd always rather know the truth, wouldn't you?
00:24:00Yes.
00:24:01Speaking of which, I wonder if you could do a little questioning on my behalf.
00:24:14Cam, you simply must join us for dinner tonight.
00:24:19Oh, I'm afraid I can't.
00:24:21The orphans, you see, I write potential benefactors on their behalf.
00:24:24Nonsense, I insist.
00:24:26Well, I understand that Bertram's is busy, Humphreys.
00:24:28Heaving, Miss Blake.
00:24:29Well, Bridget Milford and I will be best friends.
00:24:32You know, and she relies on me.
00:24:34Well, what if I wasn't there and she needed help?
00:24:37You know, and with all this talk of robberies, if only you could move her nearer my suite.
00:24:41It's room 223. It's just down the hall.
00:24:43Room 223 is an American room.
00:24:45Well, if Daddy was still here.
00:24:46Yes, yes, of course.
00:24:48Special room for a special lady.
00:24:50Really?
00:24:54Bridget, nothing's too good for you.
00:24:57I'll just be a minute.
00:24:58Oh, Miss Malnowski.
00:24:59I just wanted to say thanks awfully for such a super ride. In your car, I mean.
00:25:12My pleasure, Miss Blake. The first floor, isn't it?
00:25:14No, please call me Alvira or Elle. Everyone else does. Or at least Bridget does.
00:25:19Bridget is your friend with her aunt.
00:25:22Polio, yes.
00:25:23See, we were just 11 and one afternoon I insisted that we went swimming in the river, even though we weren't supposed to.
00:25:29She contracted the disease?
00:25:31Contaminated water, yes.
00:25:33Well, the joke of it is, I didn't even go swimming in the end. I just sat there and read.
00:25:39So, you see, it is my fault, really.
00:25:43You care for her still?
00:25:46It's what friends are for.
00:25:48You're very sweet.
00:25:52And this is your floor, Miss Marple.
00:25:55I'm lucky to have a friend like Bridget.
00:26:00I mean, when your mother's Bess Sedgwick.
00:26:03Sorry, you're Bess's daughter?
00:26:05Why does that matter?
00:26:19Can I see?
00:26:20Never a work in progress.
00:26:21We didn't always see eye to eye me and Tilly, but I do miss her, you know.
00:26:28Well, she had spirit, that one.
00:26:31Fire.
00:26:38You and Tilly, you were drinking partners, weren't you?
00:26:40We had been known to, um, to share the occasional tipper.
00:26:49Was there something she knew, Mickey?
00:26:51Some secret that could have got her killed?
00:26:53No.
00:26:57What's all this about?
00:26:58Maybe something you told her?
00:27:00I said no.
00:27:08Still got those talking pipes then, eh?
00:27:10Aye.
00:27:11You can hear everything from here.
00:27:17German, that is.
00:27:18How long?
00:27:19Rock.
00:27:20They still speak a bit from my service days.
00:27:24What's he saying?
00:27:25Something about...
00:27:27waiting for my papers.
00:27:29Horry!
00:27:30South America.
00:27:35That's all I can make out.
00:27:36You and Tilly!
00:27:37That's all I've done!
00:27:38I'm not so happy!
00:27:40I'm not so happy!
00:27:41I'm so happy!
00:27:42I'm so happy!
00:27:43Now you are tired!
00:27:45Hey!
00:27:46Hey!
00:27:47Hey!
00:27:48Hey.
00:27:49Hey!
00:27:50Hey!
00:27:51Hey!
00:27:52Hey!
00:27:53Hey!
00:27:54Hey!
00:27:55Hey!
00:27:56Hey!
00:27:58Hey!
00:27:59Hey!
00:28:00Hey!
00:28:01Hey!
00:28:02Hey, hey!
00:28:03Hey!
00:28:04Hey!
00:28:05I wish you'd just told me that you and Mr. Malinowski knew each other.
00:28:17He said he'd never date your daughter out of respect for you.
00:28:20Which is a shame, really, because I thought he was jolly nice.
00:28:25Dennis Lass and I were involved in some, um, confidential work.
00:28:31Why is it that you always get everything that I can't have?
00:28:35You get Miss Malinowski, and you get excitement and adventure.
00:28:40And you even had Daddy for years longer than I did.
00:28:43All those stories of him, you could have told me, but you kept them all to yourself.
00:28:52What's that?
00:28:55Nothing.
00:28:57It's business.
00:28:59What, more damn secrets?
00:29:01Oh, Vera, wait!
00:29:05I, Sir Richard Osborne,
00:29:31Blake, being of sound mind and body,
00:29:34do hereby leave my fortune and estates to be divided into three equal portions
00:29:40between my daughter from my previous marriage,
00:29:44Elvira Louise Blake,
00:29:46my ex-wife,
00:29:49Lady Elizabeth Mary Sedgwick,
00:29:51and to the newly formed Blake Charitable Foundation for the Arts.
00:29:57And that's pretty much it in the main, very straightforward will.
00:30:03Doesn't he mention anyone else?
00:30:06Ah, of course.
00:30:08And to my third cousin, Lady Selina Hazy,
00:30:13who was always so happy at my Cornish estate, Mayfield House,
00:30:17I leave to you
00:30:19my lithograph print of it
00:30:22as a happy reminder of the place of which you were so fond.
00:30:26How charming.
00:30:34You want a break, Corbyn?
00:30:36Uh, no, Inspector.
00:30:39I, uh, I was looking for you.
00:30:42I have some information.
00:30:44Something I overheard.
00:30:46One of the guests
00:30:48talking in German
00:30:50about wanting his papers and
00:30:53South America.
00:30:56And, well, what if there's a Nazi at Bertram's?
00:31:04Mr. Curtin?
00:31:05The paperwork?
00:31:07Ah, I'm afraid it is going to take a little longer than I...
00:31:11Then I'll be around tomorrow at three o'clock sharp.
00:31:13Let's hope nothing happens to me between now and then.
00:31:21I'm sure I've seen that before.
00:31:25Yes.
00:31:26Like the one of Bertram's.
00:31:29Copied by the same artist, I expect.
00:31:31I'm so glad that's over.
00:31:33You poor, poor friend.
00:31:34Shall we get a taxi?
00:31:35I don't feel that.
00:31:36I think it's copied.
00:31:43I'm so sorry about Tilly, Mrs. Rice.
00:32:01I've packed up all her things for her.
00:32:04Nice as I could.
00:32:05She always thought so highly of you.
00:32:09Jane's one of what she used to say.
00:32:11Really?
00:32:14Mrs. Rice.
00:32:17Did...
00:32:18Did she have more money than she ought?
00:32:20Oh, yeah.
00:32:21She said it was him that gave it to her.
00:32:24That foreigner she was stepping out with.
00:32:27Do you remember his name?
00:32:29Lice.
00:32:31Louse.
00:32:32Not like his last man in house gate.
00:32:33Mr. Mutti.
00:32:40Mr. Malinowski.
00:32:42I'm glad I caught you.
00:32:43Caught us?
00:32:45An English expression for met with.
00:32:47I was wondering if I could see your papers.
00:32:51Our papers?
00:32:52Why should we show you our papers?
00:32:54Well, I say wondering, I mean insisting.
00:32:57If you'd be so kind.
00:33:03You're a resident of Milan, Mr. Malinowski?
00:33:11One, two, three, via Celoria.
00:33:14Celoria.
00:33:16It is very beautiful, Inspector, if you should ever wish...
00:33:18Mr. Mutti.
00:33:18Well, this all seems to be in order.
00:33:29I'm sure you won't mind if I hang on to these to check them out.
00:33:31I'm sure you won't mind if I hang on to these to check everyone outside the bed because of the fans.
00:33:37Thank you, dear.
00:33:40Oh!
00:33:41Hold the doors!
00:33:47Good day, my dear.
00:33:48Good day, Miss Walker.
00:33:49Why is it that you hate my mother so?
00:33:56The way that you looked at her yesterday.
00:33:59I'd have thought you'd have shot her if you could.
00:34:01Some people deserve shooting.
00:34:04And I'm afraid, my dear, your mother is one of them.
00:34:08What do you mean?
00:34:09Bess Cedric took my husband.
00:34:12And she didn't give him back.
00:34:15Good afternoon.
00:34:16How many?
00:34:17We've been, um, getting the time, so it's not...
00:34:20Oh, good evening.
00:34:24Uh, Jack?
00:34:25It is, Miss Marple, but however could you tell?
00:34:27Well, I did happen to notice.
00:34:29Aren't you left-handed?
00:34:31Whereas your brother, Joe...
00:34:32He's right-handed, that's right.
00:34:35I see.
00:34:37So if I'd been carrying my paper like so...
00:34:39Well, then, that would have been very confusing.
00:34:44Oh, Selina, how was the will reading?
00:34:46Well, fine, fine.
00:34:48Although...
00:34:50Oh, how odd.
00:34:52They've moved their painting, the Rembrandt copy.
00:34:54Mr Curtin had the same one in his office.
00:34:56Looks like a Vermeer copy now.
00:34:59Mr Melonofsky?
00:35:00Did Bess Cedric receive my letter?
00:35:02I'm sure if she had, I, uh, wouldn't be able to comment.
00:35:06Letters.
00:35:13Threads.
00:35:14Three women.
00:35:16Three black hats.
00:35:18Could you have a look and see what you can find?
00:35:20Inspector!
00:35:21I'm so glad to have caught you.
00:35:24It was the hat, you see.
00:35:25The hat was all wrong.
00:35:26Just like Mrs Royston in the post office.
00:35:29Mrs Royston?
00:35:30The black hat on poor Tilly Rice's head.
00:35:33Surely you noticed how similar the dead girl was to Elvira Blake.
00:35:36Are you suggesting the killer mistook Tilly Rice the maid for Elvira Blake the heiress?
00:35:41And have you noticed also how very alike mother and daughter are in those hats?
00:35:45So now you're saying Tilly Rice was killed because someone thought she was Lady Sedgwick?
00:35:49I'm saying there are three people who all looked very similar.
00:35:52One of them is dead and another may be in great danger.
00:35:58Lady Sedgwick happened to drop this.
00:36:04You said her hat was wrong.
00:36:06I can't quite work it out.
00:36:08But it does remind me of Mrs Royston in the post office back in St Mary Mead.
00:36:12If Mrs Royston saw another woman wearing a coat or a skirt that she liked,
00:36:15she'd always say, I bought one like that just last week.
00:36:19Then she'd rush out to buy the coat or the skirt rather than let anyone know she was copying.
00:36:25She always wanted everyone to think.
00:36:27She thought of it first.
00:36:30Oh.
00:36:31I see.
00:36:32You do.
00:36:33I'm so glad because you see, that's what's wrong with a hat.
00:36:38Underneath, her hair was messy.
00:36:41Something's going to happen and it's going to seem as if it came after poor Tilly's death.
00:36:45But really, it came first.
00:36:48Some day you'll come along, the man I love.
00:37:13And he'll be big and strong, the man I love.
00:37:23And when he comes my way, I'll do my best.
00:37:28Do you know if the deceased was planning to meet anyone up here?
00:37:33Tilly.
00:37:34Sorry?
00:37:35Her name was Tilly.
00:37:37And no, she didn't say she was expecting anyone.
00:37:39A gentleman friend, maybe?
00:37:41If Tilly was planning on stepping out, she'd have made sure she was wearing lipstick.
00:37:44How do you know that she wasn't?
00:37:46A cigarette.
00:37:47No lipstick marks.
00:37:50That's clever of you to notice that.
00:37:51Yeah, well, just because I wear a pinny don't mean I'm stupid.
00:37:55No, well, it's me told.
00:38:01You can see why she loved it up here.
00:38:04Look at that view.
00:38:04Well, aren't you going to look?
00:38:09I've seen it already.
00:38:11I don't understand you.
00:38:13You can't be that much older than me, and yet...
00:38:15And yet you act like you're an old man.
00:38:17It's been a difficult war.
00:38:25I've seen that look before.
00:38:27I thought we were fighting for a better world.
00:38:30When we come back...
00:38:32nothing had changed.
00:38:40My sister worked in munitions.
00:38:42This is it, she said.
00:38:43Equality for women.
00:38:44And then the war ends, and here I am, in service.
00:38:52But even London looks beautiful from up here.
00:38:58Yeah.
00:39:01Yeah, it does.
00:39:02You'll build a little home
00:39:13Just meant for two
00:39:16From which I'll never run
00:39:20Who would, would you?
00:39:23And so, all else above
00:39:28I'm waiting for
00:39:32What is it that's wrong with a plain girl?
00:39:46What is it that's wrong with a plain girl?
00:40:00Ricketts?
00:40:01Oh, yeah.
00:40:02I believe.
00:40:03You can see they're quite devoted to each other.
00:40:06But the needy will not always be forgotten
00:40:08Nor the hopes of the afflicted ever perish
00:40:11Psalms 980
00:40:12What very interesting quotations you employ,
00:40:15Canon Pennyfather.
00:40:17Good evening, Miss Marple.
00:40:18Have you by any chance seen my brother?
00:40:20I'm sorry.
00:40:21Er...
00:40:22Jack.
00:40:24That's right.
00:40:25Maybe he's at the concert.
00:40:26Oh, no.
00:40:27Neither Joel nor I are very fond of jazz.
00:40:29Well, enjoy your soup.
00:40:31Very nice.
00:40:59Where is it your canon of?
00:41:19Er...
00:41:19Ely, Miss...
00:41:21Really?
00:41:22Why, the Archbishop of York is an old, old friend of the family.
00:41:25He runs his province so well, don't you think?
00:41:27Oh, magnificently, Miss...
00:41:30Oh, my dear.
00:41:44Your brother was looking for you just a moment ago.
00:41:47He went that way.
00:41:48Oh, thank you, Lady Hazy.
00:41:51Well, let's hope that we don't have a repeat of last night's excitement.
00:41:55Oh, my dear.
00:41:57Oh!
00:42:03Once again, so many apologies, ladies and gentlemen, for the loss of light.
00:42:06I'm sure with a little Dunkirk spirit...
00:42:09I wonder what's with the dicky lights in the dining rooms.
00:42:11They're A-OK everywhere else.
00:42:13Oh, dear.
00:42:14We seem to have lost Canon Pennyfather.
00:42:16Look at that fog, Jane.
00:42:18Glad I'm not outside on a night like this.
00:42:21Oh, look, even Bess Sedgwick has abandoned her car.
00:42:25And she's beaten land speed records.
00:42:35There's a sniper.
00:42:37Watch out!
00:42:39Get out of the way!
00:42:40Be careful, man!
00:42:48Somebody do something!
00:42:50First floor!
00:43:01This one!
00:43:04It's not enough.
00:43:04Just break it down.
00:43:05Oof!
00:43:05Oh, shit.
00:43:31Come on!
00:43:32Come on!
00:43:34That is enough!
00:43:41I see him.
00:43:45I see him.
00:43:51Where is he?
00:43:58Nothing here.
00:44:01Alvaro.
00:44:01I see him.
00:44:03Mother!
00:44:09I wish you'd be happy.
00:44:16I just don't understand it.
00:44:26You knew this was going to happen.
00:44:28No is such a fervent sort of word, Inspector. I know no more than you. One has to wonder who the real target of the shooting was. Those hats, you see. All so similar.
00:44:39You mean, did the killer think he was firing at Lady Sedgwick or did he actually know it was her daughter? But what about her death threat?
00:44:47Certainly the note was not real.
00:44:49No. No, of course not.
00:44:55Actually, you've lost me there.
00:44:57Who sends a written death threat, not someone who truly intends to kill the recipient. It's common sense not to warn them.
00:45:05I wanted to clean my head. And so I went for a little walk. I couldn't afford the concert. I mean, my allowance is terribly small until I get my inheritance.
00:45:15Can't be cheap. Staying at Bertram's.
00:45:17Oh, I stay here for free. I've been running around Bertram's since I was a little girl. Now it's all been made so horrible.
00:45:23I was just coming back from my walk and I could just see the torch is burning. Just like when I was little and Daddy took me for a stroll. He knew I loved London at night.
00:45:35And then we hit the ground right in front of me and another one. And then that man, that man, he saved my life. And then I, I just, I panicked.
00:45:45Where'd you get the gun from?
00:45:47It was Mother's. I was looking for her last night, but she wasn't in her room. So to annoy her, I stole it from her bag.
00:45:57I'm sorry, I'm not feeling up to being questioned.
00:45:59You told me you were in your room the night Tilly Rice was strangled. That isn't true, is it?
00:46:07No comment.
00:46:08Someone ran a bath in your room and let it flood the ceiling of the rooms below.
00:46:12Well, someone must have come in when I wasn't there.
00:46:14If you weren't in your room when the bath was run, were you anywhere near room 123?
00:46:19Inspector, how many hands does it take to operate the rifles?
00:46:22The type we found, two.
00:46:30Yes, of course, I'm sorry to have taken your time, Miss Milford.
00:46:32I was at the concert from start to finish, Inspector, as I have already said.
00:46:36What brought you to Bertram's in the first place?
00:46:38I have a flight from London Airport to Lucerne tomorrow morning. A flight which I will not miss.
00:46:44But the real reason for your stay is to design hats.
00:46:48Yeah, in Berlin now there is no hat industry. But then in Berlin now there is no hats. And no industry.
00:46:56During the war, were you loyal to Germany?
00:47:02My war record is classified.
00:47:04This is a murder investigation.
00:47:08I do not answer to police inspectors.
00:47:10Maybe you're not used to it being that way, but you're in Britain now.
00:47:13And don't I know it. Don't it ever stop raining here?
00:47:16Why did you use the back stairs?
00:47:18To avoid the fans. You know, they think they own you. Is there anything else?
00:47:23One thing. What could you tell me about the shooting?
00:47:26Well, the lights all fused before it started, just as I was looking for my brother.
00:47:31Did you find him?
00:47:32Oh, yes. Both of us were in the morning room when the shots were fired.
00:47:35Thank you, Jack, isn't it?
00:47:37Joe, Inspector. Don't worry. Happens all the time.
00:47:46Bleeding hell!
00:48:07You want to watch where you're going? Or do I have to have an heart attack every time I walk round a corner?
00:48:12Bleeding hell?
00:48:13Well, the situation asked for it.
00:48:16Well, it's not like I'm addicted to blue language, is it?
00:48:19Anyway, I was wondering, Bridget Milford, Mrs. Alfieri's friend, do you think she was...
00:48:23Oh, I know what you're thinking. Her hand.
00:48:25No, I've checked her medical records.
00:48:27There's no question of her faking it.
00:48:29Oh.
00:48:31Well.
00:48:33Well.
00:48:35I'd best be going.
00:48:37Good night, Miss.
00:48:38Jane.
00:48:39It's Jane.
00:48:40Oh, Jane, it's the queerest thing, but I just don't seem to have any money any more. I can't even pay my bill here. I thought if Richard had left me just a little money...
00:49:04Well, now it's dreaded plan B. Sell Mummy's beautiful necklace.
00:49:11Oh, no!
00:49:14They've been...
00:49:16But I... I put them in the safe.
00:49:19They should have been...
00:49:21...safe.
00:49:22They should have been...
00:49:23...safe.
00:49:24Well, this makes things very complicated.
00:49:41Three Blake guests were expected.
00:49:43Three!
00:49:44I had to put them all off.
00:49:45That's not to mention the merchants.
00:49:46The buyer can view at my office. There's plenty of it there.
00:49:49You're right.
00:49:50Not happy at all this.
00:49:51Don't stop this ridiculous.
00:49:53What is a Blake guest?
00:49:56Well, I'm not sure.
00:49:57Except that we get them every few weeks.
00:49:59They always arrive by Blake Care and it's always at night.
00:50:02They never have to pay for their bills and we're always told that they're not to be disturbed.
00:50:06They just stay in their rooms until one night they've gone again.
00:50:10I wonder how many Blake guests are in the hotel at present.
00:50:15Just one.
00:50:24Room 123.
00:50:26I wondered if it was significant.
00:50:28This window gives the best shot at the street.
00:50:30That's why Mr Jackson, our sniper, wanted it kept at his disposal.
00:50:34Not that I expect Mr Jackson is his real name.
00:50:37No.
00:50:38And I think Tilly knew exactly who Mr Jackson was and maybe even what he was up to.
00:50:42By chance this diary fell into my possession.
00:50:48Tilly Rice, the murdered maid.
00:50:52One, two, three.
00:50:53Next to it, money received.
00:50:54I reckon Tilly was blackmailing Mr Jackson.
00:50:56And that's what got her killed.
00:50:58I wonder, Inspector, if we could go over events.
00:51:01The sniper fired from this window and when you broke down the door...
00:51:05...which was locked and bolted from the inside.
00:51:07The sniper had vanished.
00:51:08But Elvira Blake said she saw the sniper from the street.
00:51:12She saw the rifle resting on the window sill.
00:51:15But can we really be sure she saw any more than that?
00:51:17But then where did he go? Not out the window.
00:51:19There were witnesses in the street and Joel Britton and I were outside that door the whole time.
00:51:23And anyway, the door was bolted from the inside.
00:51:25What if the sniper had already left before you got here?
00:51:29When you forced the door, this part of the bolt was ripped from the door frame, right?
00:51:38Just like Mrs Royston in the post office.
00:51:41You mean something happened after it seemed to?
00:51:44Well, almost.
00:51:46In this case, I think it happened before.
00:51:48Wouldn't you say, Jane?
00:51:50Oh, yes.
00:51:51You see these holes?
00:51:53Notice anything odd about them, Inspector?
00:52:06We've been unscrewed.
00:52:07Not ripped out by force.
00:52:09The killer unscrewed this before the shooting, then drew the bolt into it.
00:52:12When he left to shut the door behind him.
00:52:14You thought that you'd ripped it out of the frame.
00:52:16But it was never in the frame.
00:52:18Right.
00:52:19So he locked the door from the outside.
00:52:21But then where did he go?
00:52:23I came this way.
00:52:25And no one passed Amelia Walker on the back stairs.
00:52:28And yet the sniper cannot have simply vanished.
00:52:32Look, it's highly improper of me to even ask this, but...
00:52:38Do you have any idea what happened?
00:52:40No.
00:52:42Inspector, not yet.
00:52:44But it's very interesting, don't you think?
00:52:46That the killer needed us to be moved from the Victoria dining rooms
00:52:49and into the morning room before the shooting could take place.
00:52:53I believe everything we saw was designed as a spectacle.
00:52:57A show which required its audience.
00:53:00That's why the killer had us moved,
00:53:02so that we could see properly into the street.
00:53:05Which does rather point us in a definite direction, don't you think?
00:53:08Yes.
00:53:09What?
00:53:10That Mickey Gorman was always the intended target.
00:53:15M.G.
00:53:16Mickey Gorman.
00:53:17M.G.
00:53:18M.G.
00:53:19Mickey Gorman.
00:53:20Look.
00:53:21It's the same woman.
00:53:22Same dress.
00:53:23Same posture.
00:53:24He was sweet on her.
00:53:25Whoever she was.
00:53:26Look at where he placed.
00:53:27They're almost just out of reach.
00:53:28This is love.
00:53:29But from afar.
00:53:30M.G.
00:53:31M.G.
00:53:32M.G.
00:53:33M.G.
00:53:34M.G.
00:53:35M.G.
00:53:36M.G.
00:53:37How did you say?
00:53:38M.G.
00:53:39M.G.
00:53:40M.G.
00:53:41Look, it's the same woman.
00:53:46Same dress, same posture.
00:53:49He was sweet on her, whoever she was.
00:53:53Look at where he placed her, always just out of reach.
00:53:56This is love, but from afar.
00:54:01Lizzie.
00:54:03He had a wife called Lizzie back in Ballygallan.
00:54:06But he wouldn't recognise her, not from any of this.
00:54:10Oh, no.
00:54:11Jane, look closely.
00:54:14Look at her necklace.
00:54:20I'm so close, Bess.
00:54:22I'm certain.
00:54:24If the police don't root...
00:54:26Lady Sedgwick.
00:54:29Your necklace is very beautiful.
00:54:33Oh, thank you.
00:54:36And I can't help but feel I've seen it before.
00:54:38In a painting by Mickey Gorman.
00:54:42Bess, Elizabeth, Lizzie.
00:54:46Don't call me that.
00:54:47It was his name for you, wasn't it?
00:54:50Mickey.
00:54:52Your husband.
00:54:54Yes.
00:54:55We married him in Ballygallan.
00:55:00He was a wonderful, bloody-minded man you've never known the like.
00:55:05But it couldn't last.
00:55:06My family soon sorted that.
00:55:08You never stopped loving him.
00:55:09Was he my father?
00:55:20No, Vera.
00:55:22I was younger than you when I married Mickey.
00:55:24You came many years later.
00:55:28Then why did he come here?
00:55:31Because he was a gentleman.
00:55:35He would never approach me until Richard had legally been declared dead.
00:55:39That's the measure of the man Mickey Gorman was.
00:55:43Oh, Vera.
00:55:44You don't seem entirely surprised.
00:55:47I'm not.
00:55:50Please don't think I was private.
00:55:51But I found these letters after Daddy died.
00:55:54And, well, there was one from Grandmama where it all came out.
00:55:58I was so...
00:56:00I was so terribly rude to him.
00:56:04And Mickey, I mean, I thought that he'd come to cause trouble.
00:56:07Oh, no.
00:56:09Mickey wouldn't do that.
00:56:14Now, I have a lawyer to intimidate.
00:56:17Curtin.
00:56:18But you're not seeing him until three.
00:56:20That's what he thinks.
00:56:22The element of surprise, Alvira.
00:56:25Perhaps the two of you could go together.
00:56:27I always find a journey is such an excellent opportunity to...
00:56:32catch up.
00:56:35Don't you think?
00:56:37Come on, we're late.
00:56:53All right, all right, I'm coming.
00:56:55Come on.
00:57:25It's the Malinowski.
00:57:34Housekeeping.
00:57:34What are you doing?
00:57:55Oh, sir, you startled me.
00:57:58I said, what are you doing?
00:58:04Just turning down the bed.
00:58:06Like I do every morning.
00:58:14Oh, Lord.
00:58:15What?
00:58:15Her face.
00:58:16At the window.
00:58:19There's nothing here.
00:58:20Oh, I must have been spooked.
00:58:24What, the shooting and that.
00:58:26I'm so sorry, sir.
00:58:29Do you want me to come back later?
00:58:30Later?
00:58:32To turn down your bed?
00:58:35No.
00:58:37I'm not bothered by such things.
00:58:40Sorry, sir.
00:58:41Very well, sir.
00:58:43Very well, sir.
00:58:46Wait.
00:58:54Your keys.
00:58:56Oh.
00:58:58I'll forget me own head.
00:58:59Good.
00:59:14You have an appointment.
00:59:15Now, just get out of my way.
00:59:16No, come on, sir.
00:59:17Mr. Curtain.
00:59:23Oh, Lord.
00:59:26Stop him!
00:59:45Oh.
00:59:46Thank you, Miss Tibbs.
00:59:50That will be all.
00:59:50Shall I call the police?
00:59:52No.
00:59:54Certificates, receipts, and some very interesting sales records.
01:00:01You've been doing rather a lot of trading on the Blake estate behind all our backs.
01:00:05For your own good.
01:00:06Sir Richard was not the financial genius you all seem to think.
01:00:09You filthy liar.
01:00:11This paperwork proves it.
01:00:13The funds you raised were flowing into your pocket.
01:00:16Didn't those dockets prove nothing?
01:00:17Oh, really?
01:00:18Then why were you trying to burn them?
01:00:20Well, I...
01:00:21And what will you do now?
01:00:29Go to the police?
01:00:30You think I'm afraid of scandal?
01:00:31None of this will stand up in court.
01:00:33Then I'll administer my own justice.
01:00:39Put it down, Lady Sedgwick.
01:00:40Now.
01:00:41I told you no police.
01:00:43I didn't call them.
01:00:44I swear.
01:00:45We had an anonymous tip-off, Mr. Curtain.
01:00:47Looks like I arrived just in time.
01:00:49Yes.
01:00:50Yes.
01:00:50Arrest this mad woman.
01:00:53No, Mr. Curtain.
01:00:54The anonymous tip-off was about you.
01:00:58Someone thinks you've been writing nasty letters.
01:01:00Me?
01:01:01What?
01:01:02Never.
01:01:02Well, in that case, you won't mind me having a little look.
01:01:05I've never seen that before.
01:01:24Hubert Curtain, I'm arresting you for the attempted murder of Lady Bess Sedgwick
01:01:27and for the manslaughter of Mickey Gorman.
01:01:31You weasel.
01:01:32Better a weasel than an old witch.
01:01:34Oh!
01:01:35Come along.
01:01:35Miss Marple was right.
01:01:37It isn't a copy.
01:01:38It's the exact same one that was hanging at Bertram's.
01:01:41Art expert, are you now, Jane?
01:01:43It's the frame I recognise.
01:01:45The amount of times I've dusted it.
01:01:47You see this tea?
01:01:48Scratched in there.
01:01:50But why is it here?
01:01:57What the devil's going on, Inspector?
01:01:58I've just been speaking to the Rembrandt expert from the National Gallery.
01:02:01Apparently our fake Rembrandt is the worst kind of copy.
01:02:04And what's wrong with it?
01:02:06It's the original.
01:02:08Right.
01:02:09I want everything that looks remotely valuable catalogued before the experts get here.
01:02:13What happened to that painting?
01:02:14What?
01:02:15What?
01:02:15What?
01:02:16That's for me, Humphreys!
01:02:17And I want answers.
01:02:22Humphreys and Curtin are refusing to say anything.
01:02:24No.
01:02:25But the Rembrandt is real.
01:02:26I expect you'd already guessed that.
01:02:28I had my suspicions.
01:02:29You see, everyone assumes paintings on public display in a hotel of copies without actually checking.
01:02:34It's quite the best place to hide a genuine work of art, in plain sight.
01:02:39But why move on to Curtin's office?
01:02:40I would imagine he had a buyer lined up.
01:02:42And do you think Mr Curtin was the sniper in room 123, Inspector?
01:02:46Well, if he was, I don't know how he did it.
01:02:48Vanished into thin air.
01:02:49I mean, he's not the invisible man.
01:02:51Hmm.
01:02:51So, persons unknown, flood a bath, fusing the lights, so the diners are relocated here to allow a proper view of the street.
01:02:59But why?
01:03:00Because in some way, what we thought we saw on the night of the shooting was not what actually took place.
01:03:05I keep seeing the events of the evening in my mind, and something is wrong.
01:03:10Some little detail.
01:03:13If she was there and the sniper was there, then surely...
01:03:15Then it could only be possible if one person could be in two places at the same time.
01:03:23Of course.
01:03:24The hand.
01:03:26It was the wrong hand.
01:03:28Give us! Give us!
01:03:30It was him!
01:03:36Put the gun down and step away from Canon Penny, Father.
01:03:40Inspector, it's not what it seems.
01:03:43Filth.
01:03:44Monster.
01:03:46Nazi.
01:03:51Oh, dear Lord, please.
01:03:53I don't know what he's talking about.
01:03:55Oh, I think you do, Canon Penny, Father, or whatever your real name is.
01:04:00Let his last put the gun down.
01:04:01There must be a trial for his kind.
01:04:05Or they win.
01:04:10The bumbling, forgetful curate.
01:04:12Like something from a play or a story, but who didn't know his Bible or his diocese.
01:04:17I noticed, Canon, how you only ever quoted from Psalms, and you thought your church in Ely fell under the province of my friend, the Archbishop of York.
01:04:26But Ely is under the province of Canterbury, not York.
01:04:30Don't you?
01:04:32Do, alter ex.
01:04:35Rezen, besmoetze.
01:04:37You drunken, luchenschein.
01:04:40But aren't you a Nazi, too?
01:04:51A Nazi hunter, Inspector.
01:04:54Mr Malinowski's cigarette case, with the swastika design.
01:04:58No real Nazi would carry around clues like that.
01:05:00But someone trying to bring a Nazi out into the open...
01:05:03This man murdered my family and stole the treasures from my home.
01:05:07Of course, the Rembrandt.
01:05:08You came over all faint the day that you arrived here.
01:05:12I thought you were staring at Lady Sedgwick, but you weren't.
01:05:16You were staring at the painting behind her.
01:05:18Yeah, when I saw it, I knew he must be here.
01:05:22This morning, I met an associate,
01:05:24and he confirmed from my photographic evidence
01:05:26that this man is the Butcher of Eger.
01:05:29It's true. I've been helping Ladislaus since he arrived.
01:05:32Look here.
01:05:33This has absolutely nothing to do with Bertram's Hotel.
01:05:36Nazis, war criminals.
01:05:37But that's what a Blake guest is, isn't it, Mr Humphreys?
01:05:42A Nazi on the run, flown in on Blake hair,
01:05:44swapping their stolen treasures for a passage to a safe country.
01:05:48How dare you?
01:05:50You...
01:05:50You maid!
01:05:54Yeah.
01:05:55Well, you'll be doing your own cleaning where you're going.
01:05:58Right.
01:05:59Let's go back to the beginning.
01:06:01Tilly Rice was strangled on the roof.
01:06:03But why?
01:06:03It was her hat, you see.
01:06:06It was all wrong.
01:06:07Tilly was strangled, but her hat was pinned down tight.
01:06:10So her hair underneath it, it should have been neat.
01:06:12But it wasn't.
01:06:13It was Missy.
01:06:14Which means the hat was pinned in place after she was murdered.
01:06:17This is ridiculous.
01:06:18Who is this girl playing detective?
01:06:20Oh, we are.
01:06:21Yes.
01:06:24Go on, Jane.
01:06:28The hat created a false connection.
01:06:31If Tilly had been mistaken for Lady Sedgwick,
01:06:33then Lady Sedgwick would have been the killer's real target.
01:06:36The death threats were just a smokescreen.
01:06:39Mickey Gorman was always the sniper's intended victim.
01:06:42You see, the killer wanted us to believe
01:06:44that the death of Mickey Gorman came after the death of Tilly Rice.
01:06:48And, of course, in strict chronological sense, it did.
01:06:51But the planning of it had always come long before.
01:06:54Did the killer send the fake death threats to me?
01:06:56Yes, Lady Sedgwick.
01:06:58Then the killer was Mr. Curtin.
01:07:01I've never seen that before I wouldn't approach it.
01:07:02No, it's going to happen because...
01:07:04Oh, sorry.
01:07:04No, that's all right.
01:07:05You go on, please.
01:07:07No, Mr. Curtin wasn't the murderer.
01:07:09The letters were planted in his office by the real killer.
01:07:17Mr. Malinowski?
01:07:21Why didn't you tell us you were courting Tilly Rice?
01:07:25Courting?
01:07:27No.
01:07:29She was my informant in the hotel.
01:07:31Yes, sir.
01:07:32My eyes and ears in the hunt for Herman Caw.
01:07:35Well, I went to see her the night she died
01:07:39and she told me she had to meet someone afterwards.
01:07:42One, two, three.
01:07:45That's what Tilly called the killer in her diary.
01:07:48Tilly was blackmailing one, two, three
01:07:50about something that Mickey Gorman had told her when he was drunk.
01:07:54Tilly thought that one, two, three would make her rich.
01:07:57But instead, one, two, three killed her.
01:08:00Oh, no.
01:08:02Good.
01:08:02Tilly codenamed the killer one, two, three
01:08:04because she saw them in room one, two, three
01:08:07when they never should have been there.
01:08:08It never ceases to amaze me.
01:08:10No matter how complicated these affairs seem to be,
01:08:13they always boil down to one thing.
01:08:19Money.
01:08:20Lady Sedgwick was about to inherit a vast fortune from her ex-husband,
01:08:23as was her daughter, Elvira.
01:08:25Mr. Curtin was about to take responsibility
01:08:27for a third of the entire Blake estate.
01:08:30Even you had a motive, Lady Selina.
01:08:32Me?
01:08:32If Bess and Elvira died, you'd inherit Mayfield House.
01:08:36But surely you don't suspect.
01:08:38You have to be clear on where everyone was.
01:08:40Miss Marple and Lady Selina, they were in the morning room
01:08:43and Mr. Humphreys was there too.
01:08:45Amelia Walker was coming up the back stairs
01:08:47and Miss Blake was in the street.
01:08:48Lady Sedgwick and Mr. Malinovsky were caught in the fog
01:08:51and Mr. Mutti and Mr. Curtin
01:08:54were to arrive later on phones.
01:08:57Both Joel and I were in the morning room with you.
01:08:59Then I helped you break down the door to room 123.
01:09:02Oh, no.
01:09:03There was only one twin present that night.
01:09:06But you saw both of us.
01:09:07No.
01:09:08We saw two sets of clothes on one person.
01:09:11Have you by any chance seen my brother?
01:09:12Look, my dear, your brother was...
01:09:14All you did was change your clothes.
01:09:16I saw your clip-on ties.
01:09:18Perfect for a quick change act.
01:09:20Anyone would have thought they'd have seen both of you
01:09:21when, in fact, Jack was elsewhere in the hotel
01:09:23for the best part of about an hour.
01:09:25This is ridiculous.
01:09:26You can't possibly know.
01:09:27I can, my dear.
01:09:28You remember when we passed in the lobby?
01:09:31It wasn't what hand you were holding your paper in
01:09:33that gave you away.
01:09:34If I'd been carrying my paper...
01:09:36It was your watch.
01:09:37Like so.
01:09:40You wear your watches on different wrists.
01:09:42Oh.
01:09:43It was the wrong hand.
01:09:55But we didn't kill Mickey Gorman.
01:09:57No.
01:09:58You were too busy stealing Lady Selina's jewels.
01:10:09Oh, my goodness.
01:10:11Come along now, sir.
01:10:18How can I ever...
01:10:19Hand off me, if you must you.
01:10:21I'd like to telephone, my citizen.
01:10:22No.
01:10:27With Tilly Rice out the way,
01:10:28123 put their master plan into action.
01:10:32The murder of Mickey Gorman.
01:10:34But what was it that Mickey Gorman and Tilly Rice knew?
01:10:36They knew about Ballygowlan.
01:10:39A small town in Ireland.
01:10:40Where Mickey Gorman married a very young...
01:10:44Bess Sedgwick.
01:10:47What of it?
01:10:48I'm not ashamed.
01:10:50We did a little investigation.
01:10:51At the records office in Somerset House.
01:10:54The secret of Ballygowlan wasn't that you were married to Mickey Gorman.
01:10:57It's that you were never divorced.
01:10:59Oh, no.
01:11:06I've done you all to hell.
01:11:09Yes.
01:11:09I killed Mickey Gorman and Tilly Rice.
01:11:12I wasn't going to let them get between me and Richard's estate.
01:11:15They knew the will was invalid.
01:11:17Sir Richard left the money to his ex-wife.
01:11:19But as a bigamist, you were never married to Sir Richard.
01:11:21Aren't you the clever one, Inspector?
01:11:22I thought sending myself the notes was rather a cunning touch.
01:11:26And then putting one in Curtain's office.
01:11:27It was you shot at Elvira and dressed Tilly in the hat.
01:11:29Yes, and it was a damn good plan.
01:11:31Mother!
01:11:34I'm sorry, Elvira.
01:11:36I'm sorry for everything.
01:11:40But you're not going to get me alive.
01:11:42I've always said, whatever else a woman may be, once she is a mother, her child comes first.
01:11:56But this isn't the way to help her.
01:12:01This is your mother's attempt to make amends, my dear.
01:12:04To give her freedom in exchange for yours.
01:12:06We both know Bess Sedgwick was not the killer in room 123, and she couldn't have strangled Tilly Rice.
01:12:15At the time Tilly died, you were with Mickey Gorman, weren't you, Lady Sedgwick?
01:12:25But then, Miss Blake...
01:12:27Your devotion to Bridget, your driving need to help her in her illness,
01:12:31how far would that obsession take you?
01:12:34I think you wondered too, Lady Sedgwick.
01:12:36Blow me down.
01:12:41You knew the notes were fake.
01:12:43The note you put in Mr. Curtin's desk was one you had already received.
01:12:48You planted it, not to throw suspicion onto Mr. Curtin, but away.
01:12:54From Elvira.
01:12:57Because 123 was your own daughter.
01:13:01If Bridget was to enjoy any quality of life, you'd need a great deal of money.
01:13:07The will stipulated that your inheritance was to be paid to my daughter by my first marriage.
01:13:13But as the marriage was never lawful,
01:13:15Mickey Gorman and Tilly Rice knew enough
01:13:17to cost you your entire fortune.
01:13:20There you go, sir.
01:13:22One.
01:13:24Two.
01:13:27Three.
01:13:29Tilly Rice was blackmailing you.
01:13:31So it was you she was planning on meeting up on the roof.
01:13:41But it can't have been me that shot Mickey Gorman.
01:13:44Why was he in the street when the sniper fired?
01:13:46And of course, Graham needed two people to work.
01:13:49Yourself and Bridget.
01:13:51That's why you wanted an American room for Bridget.
01:13:54Because the American room's the only ones with an en-suite bath.
01:13:57Bridget left her bath to run over
01:13:59and fuse the electrics to the floor below.
01:14:01Knowing the guests would be moved to the morning room
01:14:04to witness the shooter.
01:14:06But I couldn't have fired a rifle.
01:14:10Because the sniper was you.
01:14:13Elvira.
01:14:18Think, Jane.
01:14:19The hand was wrong.
01:14:22But of course.
01:14:25So clever.
01:14:27Miss Cooper, for those of us not so intellectually gifted...
01:14:32Bridget must have left the hotel first.
01:14:35Dressed as Elvira.
01:14:37Then double-backed on herself and put on a hat and a veil.
01:14:40Is that right?
01:14:43Bridget then approached the hotel in full view of us all.
01:14:47Elvira fired at her feet.
01:14:49You're an excellent shot.
01:14:51Like your mother.
01:14:53And when Gorman ran out...
01:14:54Be careful!
01:14:55You killed him in cold blood.
01:15:02Then, knowing staff had never noticed,
01:15:04you slipped down the back stairs disguised as a maid.
01:15:08As you said, you spent your childhood at Bertrand's.
01:15:13Who knows its hidden roots and corners better?
01:15:17Your knowledge of the hotel allowed you to creep up behind Bridget.
01:15:30Then you stepped forward, firing again at the non-existent sniper.
01:15:34Almost perfect, but you had given yourself away.
01:15:39You see, Bridget has no use of her right hand.
01:15:44And so she fired with her left.
01:15:47Once you took over, you used your right hand.
01:15:52As with the Briton twins, the hand was wrong.
01:16:02Well, that's quite a theory.
01:16:04Well, you're more than I deserve.
01:16:09But I can't live with this count.
01:16:14You're right.
01:16:17Elvira did it all.
01:16:18For me.
01:16:32When I found out that Mickey Gorman had got a job here,
01:16:34I thought he'd come to blackmail me.
01:16:37I swear, Mother, I didn't know he'd only come for you.
01:16:43Come on, Miss.
01:16:44Come on, come with us, please, sir.
01:16:53No, no.
01:16:55Nancy, come on.
01:16:56No.
01:16:59Sorry, Mother, I'm so sorry.
01:17:01I forgive you.
01:17:02I forgive you.
01:17:04What I did, I did for good reasons.
01:17:06You murdered two people in cold blood.
01:17:10No, young lady.
01:17:11There is nothing good about what you have done at Bertram's hotel.
01:17:30But then, what happened to the other painting?
01:17:33I think we're about to find out.
01:17:37Miss Walker.
01:17:37Mr. Curtin's secretary tells me you've been a regular visitor to his office over the last few days.
01:17:45You were the buyer Mr. Curtin had lined up for the paintings, weren't you?
01:17:49If you believe I have the missing Vermeer, inspector, please feel free to check my luggage.
01:17:56You always travel with this, Miss Walker.
01:17:59I used to play a bit myself.
01:18:01A bit rusty now.
01:18:02Always hated the scales.
01:18:03Open her up, lads.
01:18:20Well, I better get my money back.
01:18:23Mr. Mutti.
01:18:24It's home.
01:18:31Oh, my father's, they are both home.
01:18:39Thank you so much.
01:18:40It's my pleasure, sir.
01:18:42You're welcome.
01:18:43It's my pleasure.
01:18:44It's my father.
01:18:44What's the matter, Jane?
01:18:47I was so stupid.
01:18:49Thinking it was Lady Sedgwick.
01:18:52How can I ever be as good as you?
01:18:53Get older.
01:19:12Miss Cooper?
01:19:13Jane?
01:19:15Um, I...
01:19:16I wonder if I could, um...
01:19:18Excuse me.
01:19:20If you would be so good as to, uh...
01:19:24Uh, if you'd maybe like to consider...
01:19:30You're the most wonderful, intelligent, beautiful woman I've ever met.
01:19:37When I first saw you, you took my breath away.
01:19:41And it hasn't come back yet.
01:19:43Excuse me.
01:19:44Well, me, I feel drunk.
01:19:46Or, or, or dizzy.
01:19:48Or drunk and dizzy, and like I'm walking on air.
01:19:51Inspector Bird.
01:19:51And whatever you may think of me, if there's a fraction of what I feel for you...
01:19:54Inspector Bird.
01:19:54If there's any hope you could in your heart...
01:19:56Inspector Bird!
01:19:58Yes?
01:20:00What's your first name?
01:20:01Excuse me.
01:20:01Well, it's Larry.
01:20:04It's Larry Bird.
01:20:08Well, Larry Bird.
01:20:12Whatever it is you're trying to ask me...
01:20:15My answer is yes.
01:20:19Oh, Jane.
01:20:21I don't know what to...
01:20:23I don't know what to...
01:20:23Good afternoon, Miss Marple.
01:20:44Oh, good afternoon.
01:20:45How nice to see a familiar face.
01:20:48Enjoyed yourself, have you?
01:20:49Well, it's certainly not the Bertrams, I remember.
01:20:52Oh, I'm sorry to hear that.
01:20:53But then, neither should it be.
01:20:56Miss Marple!
01:20:59I just had to tell you.
01:21:00Larry, Inspector Bird.
01:21:03He's asked me to go away with him.
01:21:05And get married?
01:21:06Oh, no.
01:21:06Just live together and see how things work out.
01:21:08Well, he says after the war, that's the way things should happen.
01:21:11Well, actually, I said that, and then he agreed with me.
01:21:14And you'd leave Bertrams?
01:21:16Well, Larry was saying that it's only a matter of time before women are allowed into the police force,
01:21:19and I thought, maybe I could.
01:21:21What do you think?
01:21:23I think...
01:21:24It sounds exactly like the sort of thing I would never have done at your age.
01:21:29I'd always wish I had.
01:21:32Things are changing, Jane, and I think for the better.
01:21:37Good luck, my dear.
01:21:38Thank you, Miss Marple.
01:21:49You've changed my life.
01:21:55Jane!
01:21:55Well, at least that's real.
01:22:13Miss Marple.
01:22:13I don't know.
01:22:28You