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Content Warning: This section of the guide includes discussion of death, graphic violence, and bullying.
Hercule shows Johnson and Sugden a small box of pebbles, which are the stolen diamonds, found in one of Lydia’s gardens. Poirot suggests that Lydia could have known “that murder was going to be done though she herself took no active part in it,” and she could have taken the diamonds to suggest theft as the motive (186). However, Johnson dismisses the idea, citing her alibi as supported by the butler. The conversation shifts to other lines of inquiry. Sugden reports that Horbury has a record of blackmail. He also reveals that Magdalene used to live with a naval officer named Commander Jones and that she could have committed the murder to keep Simeon from exposing the truth to George.
Poirot asks Tressilian about a daily wall calendar, and the butler explains that Alfred tears off a calendar leaf each morning without fail. Sugden is puzzled by Poirot’s interest in the calendar, and the detective says that it was “just a little experiment” (189).
George and Magdalene are questioned about their conflicting alibis. George becomes furious and uncooperative when the police ask him what he did during the 10 minutes between the end of his phone call and Simeon’s dying scream. When confronted with proof that she didn’t make a phone call, Magdalene bursts into tears and runs from the room. George follows, loudly protesting what he calls police bullying. Poirot, who has been quietly observing the couple and Sugden’s discussion, remarks that he may have just seen a ghost.
When Magdalene returns, she claims that she hid behind the stairs while George made his phone call, waiting to make a secret call to a male friend. While concealed, she saw that George never left the room until Simeon screamed. The officers aren’t sure whether to believe her story.
Poirot meets privately with Lydia to ask whether she truly wants him to take the case and uncover the truth as her husband requested, however painful it may be. Lydia hesitates because bringing the killer “to justice will mean bringing shame and disgrace on [them] all” (199). He warns that if the murderer is not found, suspicion will remain over everyone in the household, and the innocent members of the family won’t have closure. Poirot tells Lydia that the murderer “might be a member of the family—and, at the same time, a stranger” (200), but she doesn’t understand his meaning. She reluctantly tells the detective to proceed with the case.
Pilar and Stephen discuss their mutual desire to leave the house, but they know the police won’t allow them. As they search for a place to dance and distract themselves, they encounter Poirot in an upstairs gallery. Studying the family portraits, he notes that Harry strongly resembles Simeon while David and Alfred favor Adelaide, their mother. Poirot also notices a portrait of Jennifer, which matches a miniature in Pilar’s locket.
The detective asks to see Pilar’s passport. She goes to her room and then returns to say she accidentally knocked it out the window. While she retrieves it from the garden, Poirot brings Stephen to Simeon’s room. They pass a pair of white statues, and Stephen mentions that he thought he saw three statues in the night. Sugden is at the crime scene, but he leaves the room after Poirot whispers to him. Poirot gives “a piercing yell” and asks Stephen if he heard a sound like that on the night of the murder (208). Stephen says that he didn’t hear anything like that and scolds Poirot for frightening the household. The family members rush to investigate the sound, and Poirot assures them that he was simply conducting an experiment. Sugden confirms that a scream from Simeon’s room cannot be heard in Pilar’s room.
Poirot formally accepts Alfred’s request to investigate and tells an incredulous Alfred that he already knows who the murderer is, though he will not yet reveal the name. Before proceeding, he makes two requests. First, he wants the portrait of young Simeon placed in his room. Second, he asks for the full truth about Pilar’s father. Lydia and Alfred explain that Juan stabbed a man to death in “a quarrel about a woman” and died in prison (211). The detective also asks about Harry’s past, and Alfred angrily says that he “stole a large sum of money by forging [their] father's name to a cheque” (212).
When Lydia suggests that the solution to the murder lies with the stolen diamonds, Poirot informs her that the diamonds have already been found in her garden, a revelation that leaves her shocked and unsettled.
These chapters delve further into the theme of The Fragility of Identity and the Performance of Self. The police investigation forces cracks in the facades the characters present to the world. Magdalene’s character illustrates this. Her initial performance as a sensitive wife collapses under scrutiny, compelling her to confess to a clandestine life. Her admission of waiting to make a secret phone call exposes a hidden self, driven by desires separate from her identity as George’s wife. This dynamic of secrecy extends to Horbury, whose fear of the police is explained by a history of blackmail (ironically, a crime built on exploiting just this gap between public reputation and private reality). Poirot crystallizes this theme when he suggests to Lydia that the murderer “might be a member of the family—and, at the same time, a stranger” (200), framing the crime as an internal betrayal by someone whose true nature is unknown to the rest.
The narrative structure of these chapters employs a pattern of revelation and misdirection. Rather than building a linear case against a single suspect, the investigation scatters suspicion by unearthing a series of seemingly significant yet ultimately diversionary secrets. The discovery of the uncut diamonds in Lydia’s garden, for example, appears to implicate her directly. However, this possibility is quickly dismissed when Colonel Johnson points to her pre-established alibi. Similarly, Magdalene’s confession resolves the issue of her and George’s conflicting alibis but simultaneously introduces the new mystery of her secret relationship. Each piece of new information complicates rather than clarifies the central puzzle. This sustains suspense by continually rearranging the web of possible motives and opportunities, forcing the reader to constantly re-evaluate the significance of each clue.
The focus on portraiture and bloodlines in this section reinforces the central theme of The Inescapable Burdens of the Past. The family portraits offer records of inherited traits, both physical and temperamental. Poirot’s tour of the gallery with Pilar and Stephen becomes an opportunity to trace the distinct characteristics of Simeon and his wife through their children. This act of mapping resemblances treats the family as a product of its lineage, suggesting that the motives for the murder are rooted in long-standing, inherited conflicts. Similarly, the discussion of Pilar’s father, who stabbed a man and died in prison, hints that the capacity for violence may be hereditary. Poirot’s request to have the portrait of a young Simeon Lee placed in his room further underscores his focus on heredity and familial likeness as a key to the mystery. The portraits function as a visual representation of the family’s inescapable history, a past that continues to dictate the passions and resentments of the present.
Underpinning the characters’ deceptions is The Corrupting Influence of Wealth and Greed. The characters’ actions are consistently framed by financial concerns. Magdalene’s secret life suggests a desire for independence from her husband’s control, while Horbury’s history of blackmail points directly toward financial motivations for his deceit. The family’s reunion, orchestrated by Simeon, was always centered on his will and the inheritance. The investigation reveals that the relationships within Gorston Hall are less about kinship and more about a transactional, resentful dependency on a fortune that has bred secrecy and animosity for decades.



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