Georges Conneau, the memory of old wrongs rising in him, quarrels with this Renauld. He lies in wait for him as he comes to visit his mistress, and stabs him in the back. Then, terrified at what he has done, he starts to dig a grave. I imagine it likely that Madame Daubreuil comes out to look for her lover. She and Conneau have a terrible scene. He drags her into the shed, and there suddenly falls down in an epileptic fit. Now suppose Jack Renauld appears. Madame Daubreuil tells him all, points out to him the dreadtul consequences to her daughter if this scandal of the past is revived. His father’s murderer is dead—let them do their best to hush it up. Jack Renauld consents—goes to the house and has an interview with his mother, winning her over to his point of view. Primed with the story that Madame Daubreuil has suggested to him, she permits herself to be gagged and bound. There, Poirot, what do you think of that?” I leaned back, flushed with the pride of successful reconstruction.
Poirot looked at me thoughtfully.
“I think that you should write for the cinema, mon ami,” he remarked at last.
“You mean—?”
“It would make a good film, the story that you have recounted to me there—but it bears no sort of resemblance to everyday life.”
“I admit that I haven’t gone into all the details, but—”
“You have gone further—you have ignored them magnificently. What about the way the two men were dressed? Do you suggest that after stabbing his victim, Conneau removed his suit of clothes, donned it himself, and replaced the dagger?”
“I don’t see that that matters,” I objected rather huffily. “He may have obtained clothes and money from Madame Daubreuil by threats earlier in the day.”
“By threats—eh? You seriously advance that supposition?”
“Certainly. He could have threatened to reveal her identity to the Renaulds, which would probably have put an end to all hopes of her daughter’s marriage.”
149
