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Miss Marple | The Mirror Crack'd from Side to Side (1992) (Part 2) | Full Movie Uncut
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00:00Jane, what are you reading? Oh these, oh well one thing I've discovered from them
00:07I believe you mentioned in passing. Did I? What was that? That Marina Gregg adopted
00:14three children. Oh yes. But what interests me is that when she became pregnant they
00:20stopped living with her. Oh I know about that. There was talk about that. When she
00:25realized she was to have her own child. She, well, when she sent them packing they
00:33were very well cared for. Oh, when a child would feel that dreadfully.
00:44I saw the note.
00:48You did?
00:51And the one you threw away. Why didn't you tell me?
01:06And now if you'll excuse me, my dear friend, I ought to be getting home to the studios.
01:12I'm usually in the way here, you know. A pill dispenser, a reluctant tennis partner when Jason
01:18is too busy. But today something in the airwaves tells me that today I might actually be useful.
01:27I'll come with you if I may. Well, no offense, but that would hardly enhance my reputation.
01:34Can't you get one of your minions to drive you? All right then. You can come with me in the patrol car.
01:39If it's any help, I'll be taking an old lady along too.
01:52Technically, she's a manic depressive. She genuinely can't help nine tenths of it.
01:58And what about the other tenths?
01:59Ah, that indeed is the question, Miss Marple. It's the final tenth wherein the morality of the thing lies.
02:08Quite sad.
02:15And then, of course, there's Marina's famous temperament.
02:18...Rapturous despair, despairing rapture, and all stations in between.
02:31Anyway, I don't envy her. She's got a monstrous task on her hands with this movie.
02:37You know about Elizabeth of Austria?
02:40A genuinely interesting woman. She had a very free childhood, and then
02:43...Married the Emperor Franz Josep. Her son was the Grand Prince Rudolph.
02:53Poor devil. You know what happened to him? There was a scandal and a half.
02:59Yes, there was a tragedy.
03:01Indeed, yes. He shot himself and his mistress at the hunting lodge at Maryland.
03:09Well, here we are.
03:10Yes, you know, I've always wondered about that. I suppose it's possible two people might prefer to die
03:17rather than spoil what they think of as a perfect love. But I think it must have anywhere else.
03:21It's just so rare, haunting, tragic. But that's movies, you know.
03:30Excuse me, I'm sorry.
03:31That just about sums it up. I've rescheduled, Jane. I've called a second unit. Believe me,
03:38you didn't need to do that. I thought it was important then, and I think it's important now.
03:42For Marina's state of mind. For God's sakes, give me a break, will you please?
03:46Hey! Hey!
03:49You promised me she was okay. A1, emotionally, you said. Put it all behind her, you said.
03:56I said she is fine. Excuse me, Mr. Fenn.
04:00What? What? What? There's, uh, Inspector Craddock wants to speak to Jay.
04:10Well, do your damn scene. Thank you.
04:16You're welcome.
04:22Betty! Betty! Give me the most up-to-date accounts we have on Elizabeth.
04:29Certainly, Mr. Fenn. And the insurance schedules.
04:33Hi, Lola Booster speaking. Hello.
04:48You were seen. Someone saw you do it.
04:52What?
04:53Now, I've been told by another person present that when the dead woman, Mrs. Badcock,
05:06was talking to her, your wife appeared somewhat distracted. Do you remember that?
05:09Yeah, sure. Marina had an earful. A woman was gabbing to her about how she had the flu,
05:13gets out of a sick bed just to get her autograph. I mean, Marina was quite restrained, as a matter of
05:18fact. I thought she made it up to the woman later. The woman spilled her drink, Marina gave her hers.
05:23The drink which killed her.
05:30Killed her? Mrs. Badcock died from barbiturate poisoning aggravated by alcohol.
05:40Oh, my God. Then Marina could've... Tell me, Mr. Rudd, has it not occurred to you that your wife may be in danger?
05:46No. No. No, not until you...
05:55Look, why don't we talk about this in my office, huh? This way.
05:58Excuse me, Mr. Rudd. Mr. Rudd, I'm sorry. Hold all calls, huh?
06:08Well, I guess you, uh, you should see these.
06:22You know, I thought that it was the work of some harmless crank. I only took notice of it because
06:35it could affect the way Marina felt about things. You know, doing this movie and living in England again.
06:41It's very challenging. I never thought they could be serious.
06:49When did she receive these?
06:51Well, I, uh, I found one on the, uh, floor of her room this morning. I-I wondered, you know,
07:02I mean, her reaction to this woman's death really worried me.
07:05When you say her reaction worried you, what form did it take?
07:12I don't know. I suppose most people would notice what worried me. I-I-I recognized certain signs, uh,
07:20inappropriate responses to things. She-she began asking me questions about herself, her capacities.
07:27You know, I was worried.
07:28You know, the fact that this could have been an actual attempt on her life is, uh, is a great relief to me.
07:41But she may still be in danger. No, no, no. We'll face this together. We will stop this person somehow.
07:50Do you know who it is? No, of course not. I mean, I mean, some crank? No, I-
07:55Your wife has no enemies. No, not that sort. I mean...
08:00Look, I know. I mean, I've only been married to Marina for five years, but I've known the woman for 20.
08:07Uh-uh. No, no, this is... this is someone very, very crazy.
08:16Jay, I'm afraid they're ready on set.
08:21Okay.
08:21Okay.
08:25Okay, studio, thanks very much.
08:26Very good.
08:27Let's see one, three, two.
08:29On to the bootle.
08:30All day to get to the end of work, finally, please.
08:32Nice crowd.
08:33Okay, you guys on camera.
08:35Now, let's get this moving.
08:36Can you want to please?
08:37Pick up the law, finally, please.
08:39Please.
08:40Whoa, whoa, whoa, whoa, whoa, whoa.
08:41Come to the court under some time, quick, extra you in control.
08:57Thanks, fella.
09:01Hold the court into two.
09:05Yes, sir, yes, sir.
09:07Ladies and gentlemen, if I can have your attention please, this is the crucial moment
09:36in this scene, the most crucial moment, where Elizabeth receives the news that her son
09:41has shot himself. Now I need your cooperation here, I want complete concentration, let's
09:47help the artists, huh? Okay, thank you. Okay, Delancey?
09:50Quiet please, everyone. And turn over.
09:55I'm running. I'm running. Camera's paid. Mark it.
10:02Scene 148, take one.
10:06And settle, please.
10:12And action.
10:15And that is how they were found. The prince. The prince. Dead by his own hand, it seems,
10:25Majesty. I was asked not to tell you. What can I say? Seems like the end of everything.
10:35The emperor has ordered that the presence of the young woman should not be divulged.
10:43The prince. Worked.
10:53Cut.
10:53Am I imagining things? It seemed to me as if she went pale.
10:58as if she actually changed colour.
11:03She did.
11:06She did.
11:10You are brilliant.
11:13I love you.
11:18I think we should do it again.
11:22Sure.
11:28I know.
11:38Marina told me once that she uses an emotional memory,
11:43a parallel crisis from her own life, which figures an appropriate response.
11:48That's interesting.
11:49But what sort of emotional memory do you mean exactly?
11:53But I wouldn't be surprised if she used something like the moment she was told her
11:58baby's condition was irreversible, something like that.
12:02Cruel old business, huh?
12:04Yes, indeed.
12:05I wonder where that child is now?
12:08Locked away in some clinic in Santa Barbara.
12:12Does she ever visit?
12:14No, she never mentions the child.
12:16But there you see, alchemy, pure alchemy.
12:20A personal disaster transmuted into what?
12:24Into something rich and strange.
12:26Yes, very interesting.
12:28How long have you been her personal physician?
12:31Four years.
12:33Did you know her before that?
12:34Of her?
12:35I knew of her, like the rest of the civilised world.
12:39Ah, Marina.
12:40Marina.
12:42Marina, darling, this is Inspector Craddock.
12:44How are you doing, Miss Craig?
12:47Okay, okay.
12:48Oh, and this is Mrs. Jade Martin.
12:52I'm just an admirer, you know.
12:54You're very kind.
12:56I, uh, I guess you want to have a few words?
13:00Oh.
13:03Excuse me for a few minutes.
13:04Okay.
13:11Oh, tell Marina to get ready for the night scenes in the boudoir.
13:13We'll try and rehearse while Gianni's lighting, but we won't shoot until tomorrow, huh?
13:17Okay.
13:17Oh, Tony.
13:40Jay!
13:43Jay!
13:44Jay!
13:48It's okay.
13:50They said they were going to kill me.
14:17I'm going to kill you.
14:18I'm going to kill you.
14:18Is this Miss Spencer's studio?
14:20This is.
14:21Margot's out, though.
14:22Police.
14:23CID.
14:25I wonder if you could help us.
14:26All right.
14:29Let's see your little card.
14:41I'm stepping for Harper's at Hampstead, near Keats' house.
14:45You can't go in there, she's in no fits.
14:58I think Inspector, we would like to be left alone.
15:01It's very important that I talk to you both.
15:03The phone call you received, Miss Gregg, the death threat.
15:05Thanks, Delancey, great job you did.
15:19I couldn't trace the call precisely, but it was made locally.
15:22We've got to discuss measures for Miss Gregg's protection, if nothing else.
15:25OK, head up.
15:32Great.
15:34OK, Cathy, you can take the hat off.
15:36Actually, you want to give her a hand with a coat?
15:38Let's do some close-up, shall we?
15:57This is where Keats is supposed to have heard the nightingale on the heath.
16:01Poor old thing.
16:02All he'd hear now at night would be grunting in the bushes.
16:05Margot Darling?
16:07Yes, what is it?
16:08A dead important visitor for you.
16:11Relax.
16:14My dear, what have you been doing?
16:19Police, were you in a village called St. Mary Mead last Saturday,
16:24photograph in a reception at Gossington Hall, Miss Marina Gregg & Company?
16:29Yes, I was.
16:30This voice, was it male or female?
16:35I honestly couldn't say it was so muffled.
16:40Definitely male, but kind of high for a man.
16:44I don't know, kind of raspy.
16:47What did it say?
16:48Just one thing, said it twice, prepare yourself, it'll be soon.
16:53Then I hung the phone up.
16:57And you're telling me you know of nobody who wishes you harm?
17:00I didn't say that.
17:03I said I couldn't think of anybody who'd want to kill me.
17:07All right, then can you tell me of anybody who might wish you harm?
17:12Well, for a start, some of the actresses who didn't get to make the movies I did.
17:15What about your ex-husbands?
17:20Certainly not, they were grateful to me.
17:22Why?
17:23Because I was married again, they didn't have to continue paying alimony.
17:28What about Lola Brewster?
17:31What about her?
17:32You were the reason she divorced her husband, weren't you?
17:36Certainly not.
17:37He and Lola loathed each other by then.
17:39She was dying to get rid of him.
17:41Didn't take me long to see why.
17:43Adonis were the manners of a hyena.
17:45So it could have been Lola Brewster.
17:47Oh, it's most unlikely.
17:51Look, I'm getting fed up with this.
17:52I don't know who it is, I don't know why they're doing it.
17:55Now, shall we just forget it?
17:56No, we can't forget it, Miss Craig.
17:59Someone's threatening your life.
18:00The least likely candidate is a complete stranger.
18:03So we have to check back through your life for people who,
18:06unconsciously or otherwise, you've earned tackles.
18:08I'm not having that. I've got a movie to make.
18:10I'm not going to some kind of dumb cop therapy, right?
18:14I think we've had just about enough of this, Inspector.
18:23Thank you for your help.
18:26Thank you for your help.
18:31Milchester?
18:32You want me to go all the way?
18:34What's all this about?
18:35It's a murder inquiry, Miss Spence,
18:37and we're very anxious to have your cooperation.
18:40Oh, I see.
18:41I didn't realise.
18:42Well, of course, then.
18:44I'd be most grateful, Miss Spence,
18:45if on the way we picked up the photographs,
18:47you took it that reception.
18:57So the legend bothered to turn up for work, did it?
18:59Yeah, she came in.
19:01He screwed up my rescheduling when she came in.
19:06Are you okay?
19:06Sure.
19:08I've been alone all day, that's all.
19:10Oh, baby.
19:12Hey, listen.
19:13Get your butt down to the studios, okay?
19:15Marina and Jay, they asked us over for a meal at the hall, you know?
19:19After shooting.
19:21What's with all the invitations?
19:23Uh, Jay and I had a fight.
19:25I think he's trying to make it up to me.
19:28I guess he, uh, he's pretty pleased with the shooting today.
19:31He can't wait to see the dailies.
19:34I think he also wants us to see how Marina is,
19:36and how well she's doing, how well she's coping with all this.
19:40Oh, what?
19:41She's had a life threat, for God's sake.
19:44Big deal.
19:51Such a sweet letter from Lady Conway.
19:54She's planning on spending the winter in Landidno at the Belgrave Hotel.
20:00Nice glassed-in terraces, lovely grounds.
20:05She's, well, most anxious that I join her, unfortunately.
20:11Oh, but Miss Knight, if you're needed, of course, you're scared.
20:14Oh, no, no, no, I wouldn't hear of it.
20:18An obligation is an obligation.
20:21Now, we're not going to let this trouble us at all.
20:26I'm taking this wee drinky through to the kitchen,
20:29and I'm going to prepare us a delicious light supper.
20:32I've had the Chief Constable on the phone,
20:41complaining about you.
20:44There have been complaints.
20:46Marina Gregg insulted her, according to her husband.
20:50I was questioning her.
20:52She was holding back on who it might be who's threatening her.
20:55I was trying to provoke her.
20:57Oh, gotcha.
20:58You were trying, were you?
21:00Oh, good.
21:01As long as you actually meant to accuse an internationally celebrated star of adulterous conspiracy,
21:06as long as you meant it, then fine.
21:08She was holding something back.
21:10I had to try.
21:14She knows something, or she wouldn't be so defensive.
21:20Do you think she might be protecting someone?
21:24She might be.
21:25Complicated woman, I dare say.
21:31Artiste, artistic temperament, moody.
21:35Here she is, you see, getting into the spirit of old Vienna.
21:38She may well appear rather strange to the lay viewpoint.
21:44I wonder if you've taken that into account.
21:48I'll bear it in mind, sir.
21:54Slack.
21:55Is Inspector Craddock with you, sir?
21:57Yes, he's here.
21:59That's a call for him.
22:01For you.
22:04Hello.
22:05I found the photographer, sir.
22:08Oh, well done, Lake.
22:11I suggest you bring her to headquarters.
22:14Headquarters?
22:16Is that the HQer thing you mean?
22:18You mean HQ.
22:20I mean HQ, Lake.
22:21Ah, the HQer thought you meant.
22:23Superintendent there, is he?
22:25Yes, he is.
22:26We'll be there about seven.
22:28See you there, then.
22:36Sorry about that, sir.
22:37You've provided protection for Miss Craig, of course.
22:42Yes, sir, that's in place.
22:44Around the clock?
22:45Yes.
22:47Well, make sure it's comprehensive.
22:48We don't want anything else on our place.
22:52Yes, sir.
22:53And try not to get the Chief Constable threatened with a libel suit, will you?
22:57Dr. Petrie?
23:02Oh, Jane Marple here.
23:05Now, look here, we have to have this out.
23:07You see, I'm quite strong, and I'm fit, and it's perfectly absurd my having to have someone living in the house.
23:13Well, I dare say, but, yes, I dare say, what it seems to me, you're turning into a regular old fuss budget.
23:23Dolly, now you're going to have to do something for me.
23:41I want you to talk to Dr. Petrie.
23:45Yes, because he's behaving just like Mussolini.
24:06Mr. Fenn and Miss Brewster are leaving the main gate now.
24:12Oh, Dermot, three visits in one day. Come in.
24:15I've been very impertinent, Aunt Jane.
24:18Lake has found the woman photographer, and I've asked him to bring her here.
24:21Oh, why is that really good?
24:25I'm afraid I'm still very much in the dark.
24:28Why should Marina Griggs' life be threatened, you see?
24:32I mean, it's such a puzzle.
24:36It's a sad fact, but the first person who usually springs to mind is a husband,
24:40but in this case he seems to have been very much in love with her.
24:43Yes, I'd say he was.
24:46You've realised, of course, what is the most provoking aspect of the whole business is the risk the murderer took.
24:52I mean, all those people at the reception.
24:56It was an appalling risk.
24:57In fact, someone must have seen something.
25:02They must have.
25:04The trouble is, most people don't know what they've seen.
25:08Or at least hardly know how to describe it.
25:10I thought as much.
25:21No, Cherry.
25:22Oh my God, you made me jump, Gladys Dixon.
25:25Sorry.
25:27Look at them.
25:32She's got that unjust to annoy us.
25:34She's not even watching it.
25:36She's in the kitchen with the door shut, listening to her life programme.
25:40I've had this place to hear, I tell you.
25:43What is it, Glad?
25:46I don't know, really.
25:48Something funny.
25:52You reckon that Mrs. Bagcott was done in, like they say?
25:55Yeah, my Miss Markle reckoned she was.
25:58She's as sharp as a knife.
26:00Well, it's funny, you know.
26:02Really funny.
26:04What she done, I mean.
26:06I reckon I ought to tell someone.
26:07Tell them what?
26:09How she spilt her drink.
26:11That Mrs. Bagcock.
26:12I was there, see.
26:14But what was funny about it?
26:17I reckon she'd done it on purpose.
26:20Spilt it on purpose.
26:25Spilt it on purpose.
26:52We're in here.
26:53I'm very grateful to you, Miss Burns, for agreeing to come here.
26:58I hope we'll have no difficulty in eliminating you from our inquiries.
27:02Eliminating me?
27:04But I came here in good faith.
27:06What's this all about?
27:08Talking of faith.
27:10Tell me, would you be a Roman Catholic, my dear?
27:13What?
27:14Well, it's only that I saw you in St Mary's some weeks before this tragic business took place,
27:18and it was the way you genuflected.
27:21I thought you seemed so very distressed.
27:29When we were searching the picture, we took the writers to Austria.
27:33Oh, it's beautiful.
27:34Those Austrian elves are so wonderful, aren't they, babe?
27:37I like the Austrians.
27:39You know, they're much better than the Swiss.
27:41The Swiss have always got the hands in your pockets, you know what I mean?
27:44Well, the Austrians are, uh, what's the word, huh?
27:46Kim Whitley.
27:50But isn't Lola Jewish?
27:53What?
27:55Your father was Jewish, wasn't it, Lola?
28:00Yes, he was.
28:01Austria had a bad record on the Jews while they were part of the Third Reich.
28:05Before that, too.
28:10We never came across anything like that, I promise you.
28:13Good, that's good.
28:17I liked it there very much.
28:19Great.
28:20That's great.
28:22I'm glad.
28:26Uh, more champagne, Lola.
28:39Quaint little village dew.
28:41Courtesy of a tremendous celebrity.
28:43It's a fascinating mixture.
28:45I decided to gate-crash it.
28:48There are always photographers around at such events.
28:51I knew I wouldn't be challenged.
28:54Do you know much about Marina Gregg?
28:57Hardly anything.
28:59I mean, that's the sort of thing I check out later if I'm doing a picture story.
29:03It's the pics that matter.
29:05Did you train?
29:06Sure.
29:08Rheingarten Studios.
29:09I was with Andrew Quilp for a time.
29:11He taught me all I know.
29:13Where are the Rheingarten Studios?
29:16Santa Barbara.
29:17California.
29:18You don't sound American.
29:21Oh, but I can and I am, I assure you.
29:25I have an ear, that's all.
29:27I decided to make my career over here.
29:30Why?
29:33I like English men.
29:37And up in the hills.
29:39I mean, about five minutes from Santa Lalia, there's nobody.
29:44Nobody.
29:45But you have the town close by if you need anything.
29:48Oh, it's paradise.
29:51Real paradise.
29:53Half the farms, they call them, um, pinkers.
29:58Seem to be empty.
30:00We were thinking of buying one of them.
30:02You can get them for nothing and, you know, renovating it,
30:05putting it in a little pool, maybe a little guest house.
30:08Wouldn't it be lovely?
30:12What really happened at Myerling?
30:15Did that girl want to die with Rudolph?
30:17What do you think, Jay?
30:19Well, we'll never know, honey.
30:21I mean, I, I don't think it's something we should worry about.
30:23I worry about the girl.
30:25She was so young.
30:28Rudolph had all the power.
30:29The crown prince.
30:31And he was old enough to know how to handle those goddamn pistols.
30:35And what about her?
30:37Could she have loved him that much?
30:40Leave us to it.
30:42Do people love that much?
30:44If you ask me, they're probably as high as kites.
30:47No, this Rudolph guy, I mean, you got a real habit problem, you know what I mean?
30:50That doesn't help me, you know.
30:53What do you mean, doesn't help you?
30:56Talking that way about Rudolph.
30:58If I start thinking about him as a junkie, how the hell am I going to believe in our story?
31:02I think that people do love that much.
31:07I mean, Rudolph was a very glamorous figure, Marina.
31:12He was supposed to inherit a huge empire.
31:14So, choosing to die with a man like that, uh, she was taking her place in history.
31:20Yeah, that's right.
31:21That's right.
31:22Yeah, it was a joke, Marina.
31:23It was a bad joke, but it was a joke.
31:26I know you don't want me to play Elizabeth.
31:29What do you mean?
31:30I know.
31:31But do you think I'd have come this far if I didn't want you to play the part?
31:35Sure you would.
31:36Because you know in your bones it's going to make money, real money.
31:41And that's the big consideration with you, isn't it?
31:44A big, sad consideration.
31:48Marina?
31:48The root of evil.
31:50Marina?
31:51The love of money, the root of all evil.
31:55Will you, Ardwick, have it raw for breakfast and boiled and grilled and fried the rest of the day as well?
32:02How big is that insurance you've taken out on me?
32:05How much is it a month?
32:07Why don't you just get rid of me and claim it, you cold-hearted bastard?
32:18Will you excuse me, please?
32:28Today's plan's really through my schedules.
32:31I've got a lot of correspondence to catch up on.
32:39Yes, well, I think I just, um, yes.
32:48But, what?
32:59There.
33:00Is that what you wanted?
33:04I'm not really sure what you're talking about.
33:07But that does seem to be the closest thing to it.
33:11The curse has come upon me, cried the Lady of Charlotte.
33:14Mrs. Bantry's right.
33:17She's looking at something.
33:19Or someone.
33:21Do you think it might have been you, my dear?
33:24I mean, do you still think of her as your mother?
33:44You still think it might have been you, my sister?
33:45I mean, she can't tell.
33:46Very linda!
33:51Say it again!
34:12Good morning!
34:13Good-bye!
34:13Marina adopted us so that we could be props in a little play she'd written called Motherhood.
34:37You know, I read once that Madame de Pompadour and her friends used to dress up as shepherdesses.
34:42They even used real sheep.
34:46But it was all just music and pretty dresses.
34:50Well, I was just one of the damn sheep in Marina's make-believe.
34:54When did you stop living with her?
34:56When she became pregnant, which was announced to the world.
35:00I mean, fanfares wasn't in it.
35:03A small indecent interval and we were all packed off.
35:06Oh, we were provided for. My God, yes.
35:10I think I could have forgiven her if she hadn't made me love her.
35:16But she did. I mean, that was part of the contract.
35:20We had to love her and she made it so easy.
35:24How did you know who I was?
35:28Marina Greig always talks about you when she's interviewed.
35:34Oh, yes. She couldn't dump us publicly.
35:38In print, she's terribly proud of our careers.
35:42She just hasn't been in touch for 12 years.
35:46Why did you come down here, my dear?
35:50For revenge.
35:52And what sort of revenge did you have in mind?
35:56Humiliation.
35:58I wanted to expose her.
36:00I wanted to come up with a picture that said this woman is a cruel, manipulative bitch.
36:04A user-up of other people's lives.
36:06But what I got was a picture of a woman who's frightened.
36:10Is that what you think it is?
36:12What would you call it?
36:14I should call it a picture of a woman who's had a shock.
36:18A very unpleasant shock.
36:32I can't bear this any longer.
36:34I'm so afraid.
36:36Do you love me, Jake?
36:38You need to ask.
36:40And you will help me, won't you?
36:46Darling, darling, darling.
36:48I'll do anything you want.
36:50Anything.
36:58Oh, darling.
37:10Take her back to London, then get onto the Met to keep an eye on her, will you?
37:20Sir?
37:21Still in the frame, you reckon?
37:22Well in.
37:24Oh, not at all.
37:36No.
37:37But you'll have to give me time to think it over properly.
37:40Of course.
37:41Thanks, Miss M.
37:42Tard for now.
37:43Goodbye, Cherry.
37:45Yes, now.
37:46What do you think, Aunt Jane?
37:48About Marco Pence?
37:50Oh, yes.
37:51Well, I think she hates her stepmother.
37:53I mean, she's far too sensible to murder her, though.
37:57Thou, Dermot, I've just received a most unusual proposal.
38:01And I...
38:10Ella?
38:11Giuseppe!
38:31Giuseppe!
38:32Si.
38:35Giuseppe, get the goddamn police!
38:37Get the police!
38:38Sir?
38:41St Marymead?
38:50St Marymead?
38:51395.
38:52Sutton there.
38:53Would you hold on?
38:56Well, I think it sounds extraordinarily sensible.
39:00But what would you do about...
39:02Oh, quite.
39:05A superintendent Slack would inspect a Craddock.
39:08Thank you. Excuse me, Aunt Jane.
39:33Sir?
39:35Maddox?
39:38Yes.
39:40Right. This is the score.
39:42The secretary, this Miss Zielinski, is dead.
39:45Some joker put God knows what in her asthma, Inhala.
39:48Why, we ask ourselves?
39:50We must have seen something.
39:52Presumably, who poisoned Miss Craig's drink?
39:55Possible.
39:56So why didn't she tell you about it?
39:58Must have gone into business on her own account.
40:00Bit of blackmail.
40:02Pity you couldn't persuade her to share this vital piece of knowledge with you,
40:05but there you are.
40:06Yes, I'd say that's a fair analysis.
40:08Mrs. Bantry thinks Miss Zielinski used the telephone box outside the grounds.
40:12She may well have used it for making her blackmail calls.
40:15This is exactly the sort of thing I didn't want to happen.
40:18Look.
40:19As soon as this gets out, half of Fleet Street will be camped out there.
40:22The chief constable will be roasting my ear.
40:24Yes, sir, what would you like me to do?
40:26Do?
40:27Do?
40:28Do?
40:29Catch the bleeding perpetrator of this pig's dinner.
40:33That's what I'd like you to do.
40:35Fogant!
40:37Senor Morano!
40:42Please tell everybody in the house I want to see them in the drawing room in fifteen minutes.
40:49You include me?
40:50That includes you.
40:51I will do it.
40:56Still love me, Jay.
41:14I'll love you forever.
41:39Thick and thin.
42:06You're supple.
42:07Oh.
42:08Soft rose on toast with a slice of lemon and a jelly cream.
42:13Oh.
42:14Thank you very much.
42:16Oh.
42:17What's this?
42:18Oh, and did know?
42:19You asked to see it?
42:21Did I?
42:22Oh, yes, yes, of course, Lady Conway.
42:25Oh, now, you must consider Lady Conway's offer very seriously, Miss Knight.
42:30Cherry, you see, is dissatisfied with where she lives.
42:33And our husband Jim is a handyman who likes to play classical music.
42:37Cherry can't remember the name of the composers, so she refers to it all as that German music.
42:43German music.
42:44German music.
42:45Oh, well, there, there.
42:46Thank you, Miss Knight.
42:47Thank you very much.
42:48That's delicious, I'm sure.
42:49Oh, Miss Knight.
42:50Telephone to Inch to see if he can bring the car around.
42:51And if he can, I would like it as soon as possible, please.
42:52Oh, my God.
42:53Oh.
42:54Oh.
42:55Oh.
42:56Oh.
42:57I'm sorry.
42:58Oh.
42:59Oh, Miss Knight.
43:00Telephone to Inch to see if he can bring the car around.
43:02And if he can, I would like it as soon as possible, please.
43:05Oh.
43:06Oh.
43:07Oh.
43:08Oh.
43:09where's miss Greg she's in bed I advise her to stay there she's she's in the
43:31great strain she's smashed I'd be obliged if you'd fetch her I can't she's asleep she took
43:41a pill very well I hold you responsible then mr. right for ensuring miss Greg doesn't leave the
43:47house without talking to me I'll take that responsibility and it applies to everyone I
43:55want detailed statements from each of you before you leave the house I understand two of your guests
44:01what oh yeah me and this booster then I'll start with you sir if I may to the development please inch
44:31you ensure your star when you make a picture yes of course it's uh obligatory and supposing your star
44:44were incapacitated early in the picture would you be able to claim the full amount for which you'd
44:49insured her I'm not entirely au fait with the details of the policy inspector but
44:55our lawyers are I'm sure we're fully covered and what do you think of miss Greg's chances of
45:04finishing this picture
45:05we'll see it through inspector whatever it takes
45:12so you really can't remember it was 12 years ago you know oh it wasn't March
45:21so you really can't remember
45:25So you really can't remember?
45:38It was 12 years ago, you know.
45:41It wasn't much.
45:43Heather was just a bit off colour, that's all.
45:45Well, when she told me about feeling ill,
45:47she mentioned putting on extra make-up.
45:50She hardly ever put make-up on.
45:51Then why did she do it this time, do you know?
45:56No.
46:01I presume she would have put it on to cover something up.
46:05Yes, I suppose she would.
46:10Well, a blemish of some sort.
46:14Heather had the complexion of a schoolgirl.
46:16I mean a temporary blemish.
46:20But it is vital, Mr. Badcock, that you remember.
46:31Rather pretty name, I seem to recall.
46:36Rubella.
46:37That was it.
46:38Rubella.
46:41A touch of rubella, she said.
46:43And I thought, how pretty that sounds.
46:46And it made her face sort of bumpy.
46:49Well, rash, I suppose you'd call it.
46:52What is rubella?
46:53German measles.
46:57That's what I suspected.
47:01Not at all.
47:02German measles or rubella is extremely infectious, however,
47:06and actually dangerous to a certain group of people.
47:11Oh, yes.
47:13Women in the first few months of pregnancy.
47:16I'm sick with it to hear, I tell you.
47:21So Marina's life is threatened.
47:24Big deal.
47:25Happens all the time.
47:27Why the performance?
47:30What about me?
47:32I get accused of murder.
47:34Nobody notices.
47:35I'm not accusing you of murder.
47:36Not you, for God's sake.
47:38Who is then?
47:39The phone.
47:44An anonymous call just this afternoon.
47:47Said they'd seen me do it.
47:49Did you recognize the voice?
47:52Yeah, I think I did.
47:54I think.
47:56I reckon it was that poor bitch lying dead upstairs.
48:01Ella Zalinski.
48:03That's her.
48:03You know Ella was in love with Jay, I suppose.
48:11No, I didn't.
48:14How do you know?
48:17Common knowledge.
48:20Ella used to send Jason wet roses and sexy little notes.
48:27Maybe Jay was getting tired of Marina at last.
48:31Who would blame her?
48:33You really know the meaning of loyalty, don't you, Lola, huh?
48:37If we're playing motives here,
48:38why don't you ask this green-eyed bitch how much she hates Marina?
48:42I'll tell you how much.
48:44She hates the way the camera loves Marina.
48:47She hates the way the light comes off her skin.
48:49She hates her imagination.
48:51She hates her completely.
48:56Ask her about that.
48:57Thank you, Rich.
49:06Good night, Miss Marple.
49:11Miss Marple?
49:15Yes, Cherry, what is it?
49:17Sorry calling so late,
49:18but Gladier got something to tell you.
49:20And the faintest why, mind you,
49:22but she says she's got to.
49:23So we came.
49:24Well, well, you'd better both come in.
49:32Here we are.
49:34Now then.
49:36Coco.
49:38Now, what is it you have to tell me, Gladys?
49:40At the party.
49:44Yes?
49:45Up at the hall.
49:46Yes.
49:47I was serving.
49:49Yes?
49:51Well, when that Mrs. Badcock spilled her drink,
49:55I reckon she'd done it on purpose.
49:59That's all.
50:01But who, Gladys?
50:02Me.
50:05Who spilt it?
50:07Mrs. Badcock.
50:09Spilt her own drink.
50:11Is that what you're saying?
50:12Yeah.
50:14Well, sort of.
50:16Now, Gladys, we must get this clear.
50:18What you've told us so far
50:19doesn't mean very much, I'm afraid, my dear.
50:21And yet I'm sure
50:22that what you have to tell us is important.
50:25Now, let's start again.
50:27Now, Mrs. Badcock's drink was spilt.
50:30Is that right?
50:31Yes, Miss.
50:33And how did that happen?
50:35Well, she jogged her elbow for her, didn't she?
50:40But who did?
50:42That Miss Greg.
50:44Marina Greg.
50:46And I reckon she'd done it on purpose, I could told you.
50:50And then she'd give her hers.
50:51Yes, I did tell you.
51:05Marina Greg had always wanted a child.
51:08When it was born, it was severely mentally afflicted.
51:11She never really recovered from that, I suspect.
51:16And suddenly, here she was.
51:19The woman who had destroyed her chance of happiness
51:21was standing in front of her, laughing
51:23and boasting of what she'd done.
51:27Marina Greg wanted to kill her.
51:29And unfortunately, she had the means to do so.
51:34She only had to slip away during the party,
51:36put the barbiturates in her own glass,
51:40return,
51:41jog Heather's elbow,
51:43spilling her drink,
51:45and then offer her own in its place.
51:47Good morning, Frederick.
52:08Sir.
52:10Miss Marple.
52:13Oh, you took my advice at last, then.
52:15I told him to get in touch with you.
52:18If you want to get to know about these sorts of people, I said,
52:21you have to talk to one of them.
52:23Well, it seems to have got him very far.
52:25Perhaps, Miss Marple,
52:27you'd like to give me the benefit of your thoughts to date.
52:29I've decided to head this investigation personally from now on.
52:32And after all, one or two of your little ideas
52:34have been quite useful in the past.
52:36Oh, we've been still, hasn't we?
52:38In a bit of a fog still.
52:40Never mind.
52:42The investigation.
52:43No offence, Craddock.
52:45But I do have the Chief Constable to answer to.
52:48It's not that, so it's over.
52:50The investigation, Remy.
52:51I just need to have a word with Miss Gregg.
52:54What?
52:55Well, she's asleep.
52:56You can't.
52:56I think it's important we do.
52:59Oh, why?
53:01Because, Superintendent,
53:04Marina Gregg poisoned Heather Badcock.
53:06And she meant to do it.
53:11Oh, there you go, Chris.
53:28Uh, can you show me, Miss Gregg?
53:30All right, what's the matter?
53:32I need to see Miss Gregg.
53:33Through you, dear.
53:44It's over.
53:45Doctor?
54:04Doctor?
54:04Doctor?
54:04So, who killed this Selinsky woman?
54:28Marina Gregg killed her.
54:32Why?
54:33The phone call Marina received at the studios wasn't one threatening her life as she claimed.
54:38It was one of Ella Selinsky's blackmail calls.
54:42Ella had finally got to the right person.
54:45With fatal results.
54:48Marina recognized her voice.
54:49She also probably knew that Ella was in love with her husband.
54:55Marina Gregg's life had never been threatened.
54:57Well, how can you say that?
54:58Well, don't you see?
55:00That was a smoke screen created by Marina Gregg herself.
55:04The only person who saw the truth was her husband.
55:09Oh, thank God she took her own life.
55:12Can you imagine?
55:14Preparing a prosecution.
55:16Can you imagine?
55:17Did you ever see eagles over Estonia, Miss Marple?
55:22No, I'm afraid not.
55:25Now, perhaps you'll excuse me.
55:26Oh, yes, of course.
55:27And...
55:28Thank you, Miss Marple.
55:32Not at all.
55:47You're Jane Marple.
55:52Yes.
55:55Yes, I've heard of you.
56:00Marina said that, um...
56:03She wanted to die here.
56:07Yes.
56:07And you thought that was the thing to do.
56:13Better that she should die here than...
56:16I thought.
56:23Probably it was the only way.
56:26That she should...
56:27Perhaps...
56:30Take her own life.
56:33I'm sure that anything that was done,
56:36was done from love.
56:37You're right.
56:42It was the only way.
56:49Goodbye, Mr. Rudd.
56:50No, the other one's in the boot already.
57:05Very kind if you could help me.
57:06Thank you for fixing it.
57:07It's been very, very nice.
57:09Sorry it's been such a short job.
57:11Lady Cornway calls.
57:13I shall be in touch.
57:14Say goodbye again.
57:15Yeah.
57:16Goodbye.
57:17Goodbye.
57:18Goodbye.
57:20Thank you very much.
57:33Dermot.
57:34Cousin Dermot.
57:35Well, well.
57:36Good to see you.
57:37Oh, Dermot.
57:38How nice.
57:40Now, I took your advice.
57:42Jim thinks he can make a very nice flat for them both
57:44in the rooms over the kitchen.
57:47And even Dr. Petrie thinks it's a good idea.
57:50And Raymond definitely approves of Jim and Sherry,
57:52don't you, dear?
57:53Definitely, aren't you?
57:56Jim has just fixed the Tadman's curry.
57:59And Sherry is proving to be a very good cook indeed.
58:02So I think we should all be very comfortable.
58:04Now, come along.
58:05The biggers just stepped by.
58:07And Dolly's here.
58:08She wants to hear all the news.
58:10Don't forget Dolly's.
58:11Oh, thank you.
58:15She was a wonderful artist.
58:19So sad.
58:20So sad.
58:22Well, I think it was fortunate for her
58:25that she took her own life.
58:26Oh, Jane.
58:28Really.
58:30She's so clever, Vicar, isn't she?
58:33Ah.
58:34Was she who solved the whole thing, you know?
58:36No, with your help, Dolly, dear.
58:38Oh, no.
58:39I wouldn't.
58:40Hardly.
58:42Such a lovely woman.
58:45Really, do you think so?
58:46Raymond.
58:47Hmm?
58:47Oh, she was beautiful.
58:51Oh, I suppose.
58:53He said, she has a lovely face.
58:58God in his mercy lend her grace.
59:02The Lady of Charlotte.
59:06More tea, Vicar.
59:07More tea, Vicar.
59:37More tea, Vicar.
59:38More tea, Vicar.
59:39More tea, Vicar.
59:40More tea, Vicar.
59:41More tea, Vicar.
59:42More tea, Vicar.
59:43More tea, Vicar.
59:44More tea, Vicar.
59:45More tea, Vicar.
59:46More tea, Vicar.
59:47More tea, Vicar.
59:48More tea, Vicar.
59:49More tea, Vicar.
59:50More tea, Vicar.
59:51More tea, Vicar.
59:52More tea, Vicar.
59:53More tea, Vicar.
59:54More tea, Vicar.
59:55More tea, Vicar.
59:56More tea, Vicar.
59:57More tea, Vicar.
59:58More tea, Vicar.
59:59More tea, Vicar.
00:00More tea, Vicar.
00:01More tea, Vicar.
00:02More tea, Vicar.
00:03More tea, Vicar.
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