P.D.J. The Murder Room. (2005) Part 2 of 2.

deaddogsdam

First broadcast 2nd January 2005.  Dalgliesh finds his investigations getting in the way of his romantic life, and also hampered by security services.  Martin Shaw - Adam Dalgliesh Janie Dee - Emma Lavenham Samantha Bond - Caroline Dupayne Kerry Fox - Muriel Godby Siân Phillips - Marie Strickland Michael Maloney - Neville Dupayne Nicholas Le Prevost - Marcus Dupayne (as Nicholas le Prevost) Jack Shepherd - James Calder-Hale Anita Carey - Tally Clutton Tilly Blackwood - DI Kate Miskin William Beck - DI Piers Tarrant Sid Mitchell - Ryan Archer Lisa Kay - Angela Faraday Kate Alderton - Sara Dupayne Lesley Vickerage - Clara Anthony Calf - Lord Martlesham Thomas Wheatley - A/C Harkness Harry Burton - Bruno Denholm Ty Glaser - Celia Mellock Richard Cubison - Nobby Clarke Teddy Kempner - Miles Kynaston Sara Carver - Dalgliesh's P.A. Greg Wakeham - Ryan's Flatmate Josh Cohen - Motorist

Transcript

00:00:01What's it for? The spirit of this place should be running in your veins.

00:00:07We're your brother and sister Neville, not the Inquisition.

00:00:09There are rumors flying about. People are saying you've never liked the place.

00:00:12Sign a bloody lease and have done with it.

00:00:17You can start planning for closure because I'm not signing. I'm not signing that lease.

00:00:24You'd better start looking for a new job.

00:00:26Just forget about me.

00:00:27I can't. You're just like your father.

00:00:29Don't ever compare me to him.

00:00:33We're breaking all the rules.

00:00:38My worst failure comes back to me in flames of fire.

00:00:41Did he talk to you about anyone who might want to do him harm?

00:00:45Pour petrol on him. Set him light. No, he didn't.

00:00:50Accident suicide all night.

00:00:52It was an accident. It was an accident.

00:00:54Your brother's dead. The museum isn't.

00:00:57What's the MI5 concern?

00:00:58We have a contact now.

00:00:59An alibi. Well, let's be meticulous.

00:01:05Sir.

00:01:06I'm not a body.

00:01:07I'm afraid so.

00:01:08Violets.

00:01:09Copycat murders.

00:01:10Copycat murders.

00:01:11By the time.

00:01:18Let's see this incident了.

00:01:21You made me.

00:01:22I'm not a body.

00:01:23You can see that.

00:01:24You can see that the detection here.

00:01:25You can see anything or within a mammoth ever.

00:01:30recyclate,vero american, few sun.

00:01:32You have to recognize this villain.

00:01:33Be sure you know that your name was holding a정.

00:01:34You're and Billy again.

00:01:36Procure it.

00:03:36Oh, it won't take a second.

00:03:38I just need to get something I left behind.

00:03:40It's a tiny, tiny little thing.

00:03:42Sir.

00:03:42What have they found?

00:03:52Don't tell me.

00:03:53Let me guess.

00:03:55Neville's mistress.

00:03:56Neville's dead.

00:03:57It's not the only one, apparently.

00:04:06Well, whoever phoned her withheld their number.

00:04:09I know who the phone's registered to.

00:04:11Try and get into the voicemail.

00:04:13No handbag with her.

00:04:16No, sir.

00:04:16All right, tell the local Nick to be on the hook.

00:04:20Who's that?

00:04:25Who found her?

00:04:26You're sure you wouldn't rather go home?

00:04:35Couldn't your sister come and stay with you?

00:04:38She'd only make it worse.

00:04:40Or I could.

00:04:41It was her, wasn't it?

00:05:00Strangled.

00:05:02Strangled?

00:05:03The killer's right-handed.

00:05:05Wore gloves.

00:05:06Dead about 24 hours.

00:05:07Same time as Neville Dupain.

00:05:35He's a murderer or a suicide?

00:05:37That's her murder.

00:05:40Then someone's working their way round the room.

00:05:44Or covering their tracks.

00:05:48Would you like one?

00:05:51Tea.

00:05:52English specific against all disasters.

00:05:55Caroline.

00:05:57I'll be in my flat.

00:06:07Well, well, well, well, well, well, well.

00:06:21I didn't know you owned a rock roof, Inspector.

00:06:25Very much like my own.

00:06:26I don't, Mr. Caldehale.

00:06:30You do.

00:06:32And you've just proved I could have got here from my dentist in time to kill Neville Dupain.

00:06:36Yes.

00:06:39You think I'd have left so much to chance?

00:06:41Five minutes late and I'd have missed him.

00:06:43In any case, my bike was stolen.

00:06:45You know that.

00:06:46It's convenient.

00:06:47Very inconvenient.

00:06:48Petals were found on the body in the trunk after from violets.

00:06:55You've got a plant like that in your office.

00:06:57Not one missing any petals.

00:06:59At least, only the ones that fell off when I knocked the damn thing over.

00:07:04But you were there.

00:07:04You saw that.

00:07:05Convenient again.

00:07:07The, um, police station that you phoned to report your bike stolen.

00:07:11Hoban.

00:07:12Sure.

00:07:13Only they don't have a record of your call.

00:07:18And there was I, thinking they were moving heaven and earth to find my motorbike.

00:07:24They are now.

00:07:35So, you went home.

00:08:05Anybody confirm that?

00:08:09No one?

00:08:11My husband left me.

00:08:13I told you.

00:08:14Yes, we've been trying to contact him.

00:08:16Commander!

00:08:17Is it true we're not allowed in the museum?

00:08:20It's a crime scene, Mr. Dupain.

00:08:35Hi, it's Emma.

00:08:49Leave a message.

00:08:52Hi, it's Emma.

00:09:03Leave a message.

00:09:04Oh, Clara, it's Adam Dalgleish.

00:09:22Is Emma still with you?

00:09:23She's not archering her mobile.

00:09:24She's gone, Adam Dalgleish.

00:09:26And she's turned her mobile off because she doesn't want to talk to you.

00:09:31Will you tell her I rang?

00:09:33I won't, no.

00:09:35May I ask why?

00:09:38Okay.

00:09:40She's better off without you.

00:09:42She's been down this road before with poker-faced bastards like you bleeding her dry.

00:09:47And she's finally seen that maybe it's not such a good idea to go there again.

00:09:52Is that what she thinks?

00:09:55Or is that what you think?

00:09:58Well, ask her.

00:09:59Oh, but then you'd have to talk to her, wouldn't you, Adam Dalgleish?

00:10:02And you're not very good at that, are you?

00:10:04The phone was registered to Acelium Melok, addressed St. Earl's Court.

00:10:13I want to get someone round there, see if she fits the description.

00:10:15Sorry, ladies, I'm not coming.

00:10:16There's a dead body in here.

00:10:17No, Mrs. Strickland, please stay out as well.

00:10:18You can't come in here, Mrs. Strickland.

00:10:20Dead bodies don't bother me.

00:10:22Live ones sometimes do.

00:10:23No one from the museum, I hope.

00:10:25Come on, Mrs. Strickland, this way.

00:10:27Dead flowers.

00:10:29African violets.

00:10:30Excuse me.

00:10:31Might someone be trying to make the link with Violet Kay?

00:10:34The trunk's original victim.

00:10:36Kate?

00:10:37A prostitute.

00:10:39Her lover was charged, but Birkett got him off.

00:10:41He confessed on his deathbed.

00:10:44The trunk was empty at 5 p.m. yesterday, if that's any help.

00:10:48How'd you know that?

00:10:49I caught Ryan Archer about to lift the lid.

00:10:53Then he asked if he could, and I really couldn't see why not.

00:10:56And it was empty then?

00:10:57A sweet wrapper.

00:10:59And the old bloodstains, of course.

00:11:01Though to my eyes, they look more like rust.

00:11:04So, a double killing.

00:11:12As opposed to two separate murders in the same place at the same time.

00:11:15You're so smart.

00:11:17Why copy the style of the original murders?

00:11:19Want to get back at the Dupains?

00:11:21Hardly.

00:11:21It'll have the turnstiles spinning, if they ever reopen.

00:11:24Do they know each other?

00:11:26Celia Melloc and Dr. Dupain.

00:11:27I mean, maybe she went with him on these weekends.

00:11:29Or maybe he killed her and then talked to himself.

00:11:31It's perfectly possible.

00:11:32I think she was killed because she witnessed Dupain being killed.

00:11:36And the copycat thing?

00:11:38Could have been an afterthought.

00:11:39It's an elaborate afterthought.

00:11:41What are you facing that on, sir?

00:11:43Nothing yet.

00:11:44Maybe Celia Melloc was a prostitute, too.

00:11:49What, because of a nail varnish?

00:11:51No, the original trunk victim, Violet Kaye, she was a prostitute.

00:11:54So, Neville Dupain's a tramp?

00:11:56Eh?

00:11:56If only car victim's a tramp, air girl...

00:11:59You want to settle this before we get there, or let them vote on you?

00:12:01Well, all right, but the dress, the nail varnish, is not exactly demure.

00:12:05An angel or a whore?

00:12:07Let me in!

00:12:09Let me in!

00:12:10Oi!

00:12:11Piss off, Ryan!

00:12:12Open up the door!

00:12:14You'll have the law ran.

00:12:18Oi!

00:12:19Where's the money that was in here?

00:12:21Call it rent.

00:12:22That was my wages!

00:12:23Report it.

00:12:24They'd be glad to see you.

00:12:30First of all, does anybody know where Ryan Archer is?

00:12:33He's missing from his home.

00:12:35It wasn't really his home.

00:12:36It was just a place he was staying.

00:12:39Any more permanent address?

00:12:41Family?

00:12:42He was brought up in care.

00:12:44There might be a perfectly obvious reason why he doesn't want to be found.

00:12:48Ryan wouldn't have anything to do with any of these.

00:12:51We all know he's been on the wrong side of the law.

00:12:53He's always skulking around in the murder room.

00:12:55True.

00:12:56Then so am I.

00:12:57Can you all shut up and we might find out why we're standing out here in the cold?

00:13:02We've identified the young woman as Acelia Melok.

00:13:04Does anybody know her?

00:13:05Muriel and I both know her.

00:13:12She was a student at Swathelings.

00:13:14The school where I'm deputy head, Muriel used to work there.

00:13:16When did you last see her?

00:13:18She left last summer.

00:13:19Her time at Swathelings wasn't a big success.

00:13:22You haven't seen her since?

00:13:23No.

00:13:25No.

00:13:27Or was she known to your brother?

00:13:28I doubt it.

00:13:31But Swathelings would have contact details for her family.

00:13:35I'm not dragging the school into this.

00:13:38Your brother is dead.

00:13:40So is a young woman whose family are yet to be informed.

00:13:43Perhaps Inspector Tarrant should phone Swathelings.

00:13:47Meanwhile, I will need to close and seal the building

00:13:50so the scene of crime officers can examine all the rooms.

00:13:53I shall also need everybody's keys to the museum.

00:13:57And I will need to have a look at your flat

00:13:59as I understand it's part of the building.

00:14:01It can't be reached from the museum.

00:14:03All the same.

00:14:04There is no all the same.

00:14:05It can't be reached from the museum.

00:14:08Keys.

00:14:09Can I start with you, Mrs. Strickland?

00:14:11If I'm to be barred from my office,

00:14:14I'll leave my research papers.

00:14:24Right, then.

00:14:25Here are my keys.

00:14:39Petals from an African violet were found on Celia Melod's body.

00:14:43Violets?

00:14:45Well, that's like Violet Kaye.

00:14:48These must be coffee cat murders.

00:14:50I've seen violets in two places.

00:14:51Here in your cottage and in James Calderhale's office.

00:14:55Because of the murder room.

00:14:58Gloating over people's horrible deaths.

00:15:00It's not right.

00:15:00That's why this is happening.

00:15:02The violets?

00:15:08The plant in James Calderhale's office was intact.

00:15:11The one you had here was missing some stems.

00:15:14It was.

00:15:16I got rid of it this morning.

00:15:18But it was from Mr. Calderhale's office.

00:15:21It looked so sad.

00:15:22I brought it back here and put mine in its place.

00:15:25When was the last time you saw Calderhale's plant undamaged?

00:15:30Thursday.

00:15:32Day before the murders.

00:15:33Excuse me.

00:15:40Excuse me?

00:15:47How?

00:15:48I found this in the library.

00:15:49that's okay

00:15:58recognize it looks like a listening device is it yours has it got my name on it well it is one of

00:16:09the tools of your trade the mi5 standard issue i'd imagine it's found in the library not very

00:16:15well concealed that's what i wasn't expecting anyone to go snouting around after it you admit

00:16:20planting it then i think it dropped out of my trouser pocket why bug the library thrilled by

00:16:25the rustle of a turning page i was listening into the depends discussing the future of the museum

00:16:32it was a purely personal operation eavesdropping on your employer famously unforthcoming ones as i'm

00:16:40sure you'll find out and nothing you don't know about already in the old loggerheads marcus

00:16:45desperate to keep the place open never equally keen to shut it and caroline trying to keep them

00:16:51from each other's throats this phone call you made to holborn police station reporting your motorbike

00:16:56stolen was there a crime number it was an answering machine they were supposed to phone me back with

00:17:02one you never mentioned that before i'm full of surprises there are people can make phone messages

00:17:07disappear tally clutton says she removed a damaged plant from your windowsill and replaced it with an

00:17:14undamaged one of her own the woman's violent bad yes how did yours get damaged i certainly didn't break

00:17:21off the stems and sprinkle them in a tin truck then what did you do with it and spare us the witty

00:17:26asides i was put on this case to watch your back i would appreciate some cooperation

00:17:34i don't know what happened to the bloody plant and nobody said anything to me

00:17:39about you being here on my behalf and would you have expected them to if it were true

00:17:44what are you saying well if it were not true then something else here is being covered up

00:18:01like what well here's the thing last uh winter february a masked man walking across the car park

00:18:08night time uh dinner suit and a mask a theatrical mask he was walking towards caroline de pain's apartment

00:18:16does that sound normal to you you see i'm not the only one here with a cloak and dagger

00:18:26neville knew something about you something about his flat what did he tell you

00:18:30let's go inside neville didn't tell you anything he didn't know anything there isn't anything to know

00:18:38now he's dead

00:18:44i should go it's fine if you want to stay again

00:18:49i need to know i can still be on my own that's something we both have

00:18:54ryan wanted to come and stay here i've got the space it's yours your own you don't want some little

00:19:06so-and-so like ryan muscling it's not mine though now i suppose i've lost it my sister's always on

00:19:14about coming to live with me you don't want her to she takes over she took over with my dad i had to leave

00:19:24we're independent we're lonely caroline is too

00:19:37don't be touching anything now you're just in time nobby we're just about to strike the whole

00:19:41lot down to the car boots excuse me not laughing if these are copycat killings there are plenty to

00:19:49choose from well i can't see nobby allowing welcome back in to take notes for the next one can you

00:19:54go

00:20:00the motorist who fled the scene he'd have to be killer or accomplice i mean without his line about

00:20:06the bonfire it's just a blazing car till you open the trunk

00:20:11come with me

00:20:21two sisters still here rapunzel's in her tower

00:20:25celia didn't get into the murder room from my flat and she didn't have access to my flat from there

00:20:33i'll need to take a look you are aware i can get a warrant muriel i want you to witness this

00:20:40and i want it on record that i object

00:20:47no stairs my father was obsessive about privacy with the lift you can control cummings and guns

00:20:52you'll see you'll see you'll have to call it back

00:20:57go

00:21:08so

00:21:40May I?

00:21:55If you want to go into my bedroom, Commander, who am I to stand in your way?

00:22:02James Calderhale said that he saw a man wearing a theatrical mask arrive at the museum sometime in February.

00:22:10He said he thought that the man was calling on you.

00:22:13On me? I don't think so.

00:22:15Probably he was leaving his car here and walking into Hampstead.

00:22:18The parking there's a nightmare.

00:22:21You didn't see him? You don't recall anything like that?

00:22:23February. It could have been Valentine's.

00:22:26No, I didn't see him.

00:22:28I only wish I had.

00:22:29What's this?

00:22:34A locked door.

00:22:38Into the museum?

00:22:40I've already said there's no access from the museum to this flat, only the other way around.

00:22:45Open the store from that side when it closes, will you?

00:23:11No.

00:23:14No.

00:23:16No.

00:23:17No.

00:23:23No.

00:23:24No.

00:23:25I want this side dusted for prints.

00:23:55Were there any occasions on Friday when Celia Malek and her killer could have got into

00:24:08the building unseen?

00:24:10I was at reception all day.

00:24:13Never left your desk?

00:24:15Once at about 10 and at 1.30 when I went to look for Tali.

00:24:18Front door would have been open.

00:24:19It was only a few minutes.

00:24:22Was there anywhere in the building they could have hidden?

00:24:24The archive in the cellar.

00:24:25They could have hidden there.

00:24:26I switched the light off at the top of the stairs.

00:24:31She didn't go down there.

00:24:37Tali and I check all the rooms when we lock up but there's a staff only sign at the cellar

00:24:42door so...

00:24:43If they hid there before she was killed there'd have been plenty of time for the killer to

00:24:46slip away later.

00:24:49Marcus and I waited in the library for you for at least an hour that night.

00:24:52Truly you would have hurt them if they'd crossed the hall.

00:24:54I don't think so.

00:24:57Perhaps she was the kind who needs risk to give sex that extra edge.

00:25:01Are you suggesting that Celia and her killer were lovers?

00:25:05Well Celia might have suggested the Dupain as a possible venue.

00:25:08Knowing that I was a trustee here might have added spice to the thrill.

00:25:12Then things got out of hand and she ended up dead.

00:25:17And was she that kind of person from what you knew of her?

00:25:23She was easily led.

00:25:24Don't cut.

00:25:25Don't cut.

00:25:26Don't cut.

00:25:27Don't cut.

00:25:28How many people have keys to this entrance?

00:25:42I have one Muriel's got one.

00:25:43Mr. Pen's very particular about access to the flat.

00:25:44No other keys exist?

00:25:45Perhaps you'd like one yourself.

00:25:46I would like one, thank you.

00:25:47I shall need to seal the flat.

00:25:48That's out of the question.

00:25:49Access to the museum compromises the forensic work.

00:25:51You've got somewhere else to stay.

00:25:52This is my home.

00:25:53Then I'm sorry for the inconvenience.

00:25:54If you don't want to go to Swathelings I've got a spare room.

00:26:11When was the first time either of you was in here?

00:26:15After Neville's death.

00:26:16Just now.

00:26:17I didn't sleep here last night.

00:26:19This morning.

00:26:20Miss Dupain was planning to spend the weekend here so I came in to clean.

00:26:23If Celia had entered the museum from my flat, it would have been up.

00:26:26And the door to the murder room?

00:26:28Locked.

00:26:28You checked?

00:26:29I always check.

00:26:41Are you all right, sir?

00:26:43I'm fine, Kate. Thank you.

00:26:45That was Homerton Hospital.

00:26:47Angela Faraday's husband, Michael, was involved in a fight in a pub, 3 p.m. Friday.

00:26:51He was arrested, taken straight from casualty to a cell in Stone, Newington.

00:26:56So out of the picture, then?

00:26:58What drives me mad is you get this sense.

00:27:01Caroline DuPain, James Corderhale, the lot of them, really, they're hiding something from us.

00:27:06And a lot of it's just because they don't want to deal with the likes of us.

00:27:09Or maybe just you.

00:27:12It's beneath, um, Caroline DuPain.

00:27:16Her brother's dead, for Christ's sake.

00:27:18Where's the emotion?

00:27:20Who are these people?

00:27:21It's the upper classes.

00:27:23Stiff upper lip, cold shower.

00:27:25Shut your eyes and dream of Knightsbridge.

00:27:27You think they don't feel anything?

00:27:30Hmm?

00:27:31Some blabbermouth spouting infidelities on daytime TV.

00:27:34That's real emotion, is it?

00:27:37No, but...

00:27:38What are your chances, do you think, of getting to the heart of this?

00:27:41My relying on surface appearance?

00:27:42I suppose it's been a long day.

00:27:46I'll see you both tomorrow.

00:27:47I'm going for a walk.

00:27:54He shouted at the suspect today.

00:27:56Which one?

00:27:57James Corderhale.

00:27:58Oh, God, he's a prick.

00:28:00That's more or less what he told him.

00:28:03Have you ever known him do anything like that before?

00:28:07Your point being...

00:28:10Emma Lovenham.

00:28:12She's giving him a hard time.

00:28:14I was, uh, worried about you.

00:28:36He's an emotional cripple.

00:28:54He's married to the job.

00:28:55You'd be throwing your life away.

00:28:57Do I talk like this about the men in your life?

00:28:59I don't commit like you commit.

00:29:01I don't...

00:29:02I don't give myself like you do.

00:29:04You don't know him like I know him.

00:29:06You don't know him!

00:29:09He's a delusion.

00:29:11He's one of your...

00:29:13romantic, poetic fantasies.

00:29:16He is romantic.

00:29:17And a poet.

00:29:18And a fantasy.

00:29:20Buy his books.

00:29:21Cuddle up with those, but...

00:29:24Get yourself a man with the power of speech.

00:29:34Hello.

00:29:38Hello, Emma.

00:29:40Hello, Adam.

00:29:42I've been trying to reach you since Friday evening.

00:29:45Now you have?

00:29:46Yes, I'm so...

00:29:47I'm so sorry about Friday.

00:29:48A case came up.

00:29:50You couldn't avoid it, I know.

00:29:52And I tried to call you at Clara's, but...

00:29:54Yeah, I left Saturday morning.

00:29:56She's up here now.

00:29:57Oh.

00:30:00Why don't you make some coffee, Clara?

00:30:03Emma, look, I won't keep you if you've got company.

00:30:06I've written you a letter.

00:30:09And you should get it tomorrow.

00:30:11Right.

00:30:14Right.

00:30:14Lovely to talk to you, Emma.

00:30:21And you.

00:30:25Well, good night.

00:30:27Good night, Adam.

00:30:39So, the power of speech proven.

00:30:43What do you say?

00:30:45He didn't want to talk because he knew I had someone here.

00:30:49He's written me a letter.

00:30:50Oh.

00:30:51I'm going to bed.

00:30:55I know.

00:30:57But I think he knows too, except he just can't see it.

00:31:02This is it.

00:31:04But it's not going to happen just like that.

00:31:07Sweet dreams.

00:31:08Sweet dreams.

00:31:08He's late.

00:31:20I just wanted to say you could stay with me as long as you liked.

00:31:26Last day at Swatheling's till the flat's free again.

00:31:30You've got a sister, Muriel.

00:31:32Simone.

00:31:33You know what it's like then?

00:31:35Blood being thicker than water.

00:31:37How you have to do things sometimes that you wouldn't otherwise do.

00:31:40Don't wait.

00:31:46I'll get a lift back with Marcus.

00:31:47Please.

00:31:48I'll get a lift back with Marcus.

00:31:48Please.

00:32:04it's just I thought I could talk more openly here at home I usually have a glass of wine before lunch

00:32:25I hope you'll join me won't you come to work at the DuPain through Christopher my husband

00:32:31he was a history professor at London University and knew Max DuPain after Christopher died Max asked

00:32:38if I could help with lettering when Caroline took over I continued and you'll stay now that her

00:32:49brother's taken charge oh well he didn't commit suicide Neville I just want you to be clear about

00:33:00that no matter what anyone else might say he felt very strongly about it that it left too

00:33:06great a burden on the bereaved did you know him well I knew him better than anyone else at the

00:33:14museum I haven't shake except when I'm doing my calligraphy for some reason he used to like to

00:33:32watch me work Neville and Max all those years ago but yes Neville I think he found it restful I'd get

00:33:44on with what I was doing and we'd sit in silence or we'd talk sometimes I think I used him as my own

00:33:53personal psychiatrist like you he was a good listener oh what sort of things did you talk about

00:34:06he thought we lived too much in the past I remember saying that in old age the past isn't so easily shaken

00:34:19off old sin's return the faces of the dead who shouldn't have died come back and look not with love

00:34:29either with reproach I was reminded of it the last time we met that was something else I wanted to tell

00:34:39you he said my worst failure comes back to me in flames of fire those were his exact words oh

00:34:52hello mrs clutton it's me Ryan where are you what are you doing I'm in a cool box can you bring me back

00:35:16me six o'clock one four seven one Ryan I'm running out of money quick

00:35:20just ask Tali Ryan where are you if I tell you you'll tell them no I won't you will I wouldn't do

00:35:32that I was up there the police were everywhere I saw them are you all right are you safe if I tell

00:35:37you where I am I want you to come and see me yes can we come in who's there who's there no one it's

00:35:42Danny how are you you still think Celia Melloc's a prostitute some of them make good money

00:35:53not this good this is mummy and daddy money tax exiles live abroad somewhere kept her happy with a

00:36:01fat allowance you enjoyed that good looking girl make the place look a mess

00:36:11is this the legend honor yes is it yours

00:36:22can I ask what for what I was saying earlier about the faces of the dead perhaps it's supposed

00:36:35to help me with those flames of fire do you think Neville might have ever said that to anyone else

00:36:46no I do not was Neville Dupain adopted a question just came into my mind forgive me forgive you no

00:36:59you're perfectly right never was my son mine and Max Dupain's I left London for five months and he

00:37:13was placed straight away with Max and Madeleine such things were much more easily arranged in

00:37:20those days is this generally no do Caroline and Marcus know about the adoption but not that I was the

00:37:28mother or Max the father Marcus was only little and Caroline wasn't even Wharton neither of them

00:37:34said anything to me that you pain is not in the habit of confiding private family matters

00:37:40you have a talent for encouraging confidences I suppose you'd say it was in the cause of justice

00:37:48I might say it was in the cause of truth

00:37:52I felt affection I felt great affection for Neville but no maternal love how could I claim him for my

00:38:06son when I gave him up so easily was a long time ago you have every right to feel differently now find

00:38:15his killer commander that I think I do have a right to ask she's got three bedrooms but no flatmates no

00:38:26pictures of friends or family and the only message on the answer phone is from a mechanic saying that her

00:38:31car's ready to be collected that explains why we didn't find it at the museum of a lost soul really

00:38:36as opposed to you feel sorry for her the modern holy trinity is money sex and celebrity she had the

00:38:44first two and judging by these she had a good chance of third needy though I get that feeling the kind

00:38:50clings and won't let go men don't like that one of them didn't semen on this back it up let's get out

00:39:00of here thank you all for your expressions of sympathy we thought you don't want to know our plans for

00:39:09the future of the museum you'll have had it on your minds just as we have despite the circumstances

00:39:16Caroline and I went to our solicitors and signed the new lease this morning good god all righty

00:39:25what's the sense in delay you'll appreciate knowing that you're to stay in post exactly as before now

00:39:32we couldn't give you that reassurance we hadn't signed a lease all the preliminaries were done

00:39:36it just needed the signatures of the two surviving trustees a unanimous decision then so I can keep the

00:39:44cottage I'm sorry no no not at all of course you can keep a cottage dally

00:40:01Sarah Dupain's alibi checks out and I've got Neville Dupain's past patients on screen when you're ready

00:40:05all right well I'm hoping to finally turn up call the hell's report on his stolen motorbike would you

00:40:10mind sir well that means it was definitely stolen why haven't we called into this job not for call

00:40:16to hale's mi5 connections why does this warrant special investigation states it's something they

00:40:22know and we don't well it's not going to stay like that there's megabytes of stuff here it's going to

00:40:27take some going through all right we'll look for the suicides three times we've heard he felt strongly

00:40:31about that the patients topping themselves must go with the territory for psychiatry if something in

00:40:35Neville Dupain's life was haunting him another sense that's what it was pull out all the suicides

00:40:40yes and the methods used grudge killings connected with these they're blind records that's all they're given

00:40:47to them for more access

00:40:51this is the uh post-mortem report on Celia she was two months pregnant

00:40:56well the contraceptive pills in her bathroom no she wasn't taking them

00:41:00what a motive for murder well we've been working on the assumption that Celia was killed because she saw

00:41:05Neville Dupain killed but it could have been the other way around but Neville could have been

00:41:09trying to get to his car to get away from what he saw yes well keep it in mind hey uh no response

00:41:14yet from the mobile company on where muriel godby was when she took the call after the first killing

00:41:35they take their own lives but who do they leave behind someone to avenge them

00:42:05they take their own lives and they didn't have to be uh real family

00:42:14so

00:42:15ryan

00:42:16ryan

00:42:25that's

00:42:26ryan

00:42:28You must have forgotten to tell me that you spoke to Adam on Saturday morning.

00:42:56He had your phone switched off.

00:42:58What did you say?

00:43:01Can't remember.

00:43:03What did you say?

00:43:06Doesn't it say in his little letter?

00:43:09It says that he hopes that what you told him isn't true.

00:43:13You told him to forget about me, didn't you?

00:43:15I was thinking of you.

00:43:17I don't think he's good for you.

00:43:19I know that.

00:43:22I don't want to hear about it anymore.

00:43:24Then let's have a cup of tea and a bacon sandwich.

00:43:31You're going to London today.

00:43:33You can deliver my reply.

00:43:37Very Jane Austen.

00:43:38That's all his patience, dating back eight years to when he arrived here from Nottingham.

00:43:56How long have you worked here yourself?

00:43:59I was here six months before he started.

00:44:02I'll stay six months after he's gone.

00:44:04When I was driving to meet him last Friday, if I hadn't turned around and gone back, he'd still be alive today, wouldn't he?

00:44:18Ryan Archer.

00:44:19Did Dr. Dupain often go out of his way to help young offenders from his work at Feltham?

00:44:26He thought Ryan had something about him that he just needed to break to put him on the right track.

00:44:33Was he right?

00:44:35I hope so.

00:44:35Ryan?

00:45:05You alone.

00:45:13I want to be sure you're on your own.

00:45:15I am.

00:45:15I said I would be, and I am.

00:45:16Have you told anybody about this?

00:45:18No.

00:45:18Liar!

00:45:19I haven't.

00:45:21I don't break promises.

00:45:22But you've got to go and talk to them, Ryan.

00:45:24There's people that think this was you.

00:45:25And you?

00:45:26No, I don't think it was you.

00:45:28You're just saying that.

00:45:29Ryan, I wouldn't be here if I thought you'd killed somebody.

00:45:32They all think it's me.

00:45:33I didn't mean that.

00:45:34The police are after me.

00:45:36Been to my house.

00:45:37Why did you run away?

00:45:38You just said you didn't think it was me.

00:45:39Now you're firing questions at me.

00:45:41Ryan, you have got to calm down.

00:45:42You try sleeping rough in this weather.

00:45:45Right.

00:45:46You can come and stay with me if you like.

00:45:50Just don't get things sorted out.

00:45:55Hmm?

00:45:59I brought you something to eat.

00:46:01Some soup and some sandwiches.

00:46:03A dozen suicides in his time at Nottingham.

00:46:05Eight men, four women.

00:46:07Sounds like a jury.

00:46:08Let's hope they're convict.

00:46:09Medical records, St. Oswald's.

00:46:12Angela Faraday's marked the suicides already.

00:46:14Isn't she a suspect?

00:46:16No.

00:46:17No, she's not.

00:46:19That's good enough for me.

00:46:22It really irritates me when he does that.

00:46:25Well, what, that he does it or that he's never wrong?

00:46:31Just had this from Hampstead Police Station.

00:46:33Please, sir.

00:46:33Yes.

00:46:43Yes, I understand that.

00:46:46Yeah.

00:46:47Well-thumbed.

00:46:48Well, if you can't give me names,

00:46:50at least give me methods of suicide.

00:46:52And the family structure?

00:46:53And a family structure.

00:46:55You know, brothers, sisters, that sort of thing.

00:46:57There's something missing here, you know.

00:47:00Peas.

00:47:00You did seal the door to her flat.

00:47:04I'll check it's still intact.

00:47:06There's a doorman.

00:47:09I shouldn't have run, but I did.

00:47:10Then I heard about the girl in the trunk.

00:47:12And everyone knows I've been going on about the trunk.

00:47:14Mrs. Strickland even saw me looking in there

00:47:16on the day Dr. Dupain was killed.

00:47:18The other day,

00:47:19when you said you were going to have a word with Dr. Dupain,

00:47:22you never did, did you, Ryan?

00:47:26Ryan.

00:47:28No.

00:47:29No.

00:47:31I didn't kill him.

00:47:32You've got to tell him it wasn't me, Mrs. Clutton.

00:47:33They'll believe you.

00:47:35Why take the keys and nothing else?

00:47:38Hoping to get to her flat before us.

00:47:40Whoever's semen that was on Celia's sheets

00:47:42perhaps left other calling cards as well.

00:47:45What if there were other keys in the bag?

00:47:47Not just the keys to her flat.

00:47:49The keys to the museum.

00:47:51Or Caroline Dupain's flat.

00:47:54There's a Mrs. Clutton downstairs

00:47:55with a young man she says you've been looking for.

00:47:58Yes.

00:47:58Hello.

00:48:10Hello.

00:48:11This is Kate.

00:48:12She'll take you to an interview room.

00:48:13You're not under arrest.

00:48:15But you need to tell us everything you know now, Ryan.

00:48:16Are you sure you don't want me to come with you?

00:48:22You're doing the right thing, Ryan.

00:48:24Don't worry.

00:48:25Okay.

00:48:27You can come home with me when you're finished.

00:48:30He's all on his own, you know.

00:48:34So young.

00:48:35Don't know that.

00:48:36They're all on their own up there, you're probably thinking.

00:48:42The whole lot of them.

00:48:43We seem to be the sorts of people who aren't bothered by company.

00:48:51Intimacy.

00:48:53My daughter, she wants me to move in with her, but I won't.

00:48:56Muriel, she's got a sister.

00:49:00She must be lonely because she's always asking if she can come and live with her, but...

00:49:04She likes her privacy.

00:49:06Then something like this happens.

00:49:09And we're all groping in the dark for, uh...

00:49:13I barely knew Neville Dupain.

00:49:15He hardly knew our name at the museum, but...

00:49:17It shifts everything.

00:49:21Murder does that.

00:49:26I'm sorry.

00:49:27I don't mean to take up your time.

00:49:28No, that's all right.

00:49:29Is there somewhere I could wait for Ryan?

00:49:32Well, why don't you get off home?

00:49:34We'll run Ryan back when we've finished with him.

00:49:39Where were you last Friday, Ryan?

00:49:41After work.

00:49:42I was in all evening.

00:49:43Anyone who can back that up?

00:49:44No one you'll believe.

00:49:45People say you spend a lot of time in the murder room.

00:49:47It's that sort of place.

00:49:48It gets oldier.

00:49:49Evil stuff people did.

00:49:51Does it make you want to do that kind of stuff?

00:49:52Must have someone.

00:49:53Because you still ain't caught them.

00:49:55I hear you like stealing cars, Ryan.

00:49:57Is that true?

00:49:57I've done quite a few.

00:50:00That's all behind me.

00:50:02Do you ever burn them out afterwards?

00:50:03Do you?

00:50:04Send them up in flames?

00:50:05Once!

00:50:06Once!

00:50:07There's a difference between burning out a car you enjoy riding

00:50:09and burning out a car with someone in it!

00:50:14Sit down.

00:50:17Loan sharking and the violence that often accompanies it

00:50:24is blighting some of the poorest people in this country.

00:50:26The scheme that I propose, where those that can afford it

00:50:29pledge money to help those that can't,

00:50:31is a simple way of ridding society

00:50:33of one of its most intractable problems.

00:50:35I didn't touch him and I didn't touch his car.

00:50:38It was burning when I got there.

00:50:39Got where, Ryan?

00:50:40It was Mrs. Clown I was thinking of out on her ear.

00:50:42Got where, Ryan?

00:50:43I wasn't going to hurt him.

00:50:43I was just going to talk to him.

00:50:45You went back to the museum on Friday night.

00:50:46I was just going to talk to him.

00:50:48What if he didn't listen?

00:50:48He was dead before I got there.

00:50:50Whoever did, he was driving off.

00:50:51And you saw the car.

00:50:52Silver Lexus!

00:50:53Silver Lexus!

00:50:56For those of you who put up,

00:50:57it won't be any interest.

00:50:59The status quo is a situation which we simply cannot allow to continue.

00:51:04Lord Martlesham,

00:51:04Martlesham.

00:51:07Martlesham,

00:51:07I knew I'd seen him before.

00:51:11How certain was she, sir?

00:51:12If we get this wrong,

00:51:13we'll all be looking for new jobs.

00:51:14Martlesham knocked her down.

00:51:16She's certain.

00:51:17A philanthropist, yeah?

00:51:18Ada Marder drives lorries full of blankets to Bosnia.

00:51:21Launching an interest-free bank for the poor

00:51:23all round Latter-day Saint.

00:51:25I think I'm beginning to see why we were called in.

00:51:27Oh, yes.

00:51:28Please God, let her be a lord of the realm.

00:51:30Talk to the press office,

00:51:31which, Kate,

00:51:31they'll only be on our backs if we don't.

00:51:33See if he drives a silver Lexus.

00:51:35Oh, and Piers,

00:51:35get somebody to drive Ryan Archer home.

00:51:38Tell him we haven't finished with him yet.

00:51:39There you go.

00:51:41Charles Montagu Spencer Martlesham educated Eden.

00:51:45Of course,

00:51:45succeeded 84.

00:51:46Married a general's daughter,

00:51:48no children.

00:51:48Address old vicarage Martlesham-Suffick.

00:51:52No ancestral home, then.

00:51:53Deprived childhood.

00:51:54Hobbies re-enacting murders 1930s style.

00:51:57No, no, no, no, Piers.

00:51:59The old objections still apply, though, don't they?

00:52:01Why flee a murder scene

00:52:03and then stop to check on somebody

00:52:04who just knocked off a bike?

00:52:06Let's ask him.

00:52:09We've got two witnesses

00:52:10who put Martlesham at the scene

00:52:12and he gets a cosy chat in the park

00:52:13instead of an interview room.

00:52:14Could we just forget about the politics

00:52:16and concentrate on the best way of getting at the truth?

00:52:19We'd mopped by journalists

00:52:20if we took him to the yard.

00:52:31I've been wrestling with my conscience for days.

00:52:37I did knock her down, but she wasn't hurt.

00:52:39I wasn't doing anything illegal.

00:52:41I just didn't want my movements, Ned.

00:52:43Coming forward would have complicated your investigations.

00:52:46Well, it would have embarrassed myself and others.

00:52:53Which others?

00:52:57Well, my wife.

00:52:59And that was what stopped you, embarrassment?

00:53:03I hadn't done anything illegal.

00:53:07I hadn't.

00:53:08I hadn't.

00:53:20Start at the beginning.

00:53:22What were you doing at the DuPayne?

00:53:26I was meeting Celia.

00:53:28Why were you meeting Celia?

00:53:34We'd been lovers.

00:53:35I wanted to break it off.

00:53:37She didn't.

00:53:39We used to meet at the car park

00:53:40near the DuPayne.

00:53:42It's, um...

00:53:44It's secluded.

00:53:47Gone.

00:53:49I was late arriving.

00:53:51She wasn't there

00:53:52and there was no sign of her car.

00:53:54So I presumed she'd gone.

00:53:56I left too

00:53:57and that's when I ran into, um...

00:54:00Mrs. Clutton.

00:54:03See, I don't think you quite understand

00:54:05the terms of this arrangement.

00:54:06Now, I can call up the sirens

00:54:07and the blue lights

00:54:08and we can go and do this

00:54:09somewhere more conventional

00:54:11or you can do as you promised

00:54:13and start telling the truth.

00:54:16Now, Celia Malik was found

00:54:17in the murder room at the DuPayne.

00:54:19How did she get there?

00:54:20I wish you could have gone into the museum earlier

00:54:22and hidden in the archive of the cellar.

00:54:25I'm familiar with the cellar.

00:54:28You see, you're not the first person

00:54:30who's put forward that theory.

00:54:31Would you like to know

00:54:33who else suggested it to you?

00:54:36There's a lot to do

00:54:37before we can think about reopening.

00:54:38No, not that much.

00:54:40There's a bit of fingerprint dust

00:54:41and the thought of it.

00:54:43The thought of getting back to normal.

00:54:47I'll get started.

00:54:48You're tired, aren't I?

00:54:49And you'll really be gone.

00:54:54What did you think of him, Muriel?

00:54:56Of Neville?

00:54:56I hardly knew him.

00:55:02No.

00:55:04I don't think I'll ever be able

00:55:06to think about him again as he was.

00:55:08Whenever I see him,

00:55:09I see those last moments.

00:55:12The bad things are over.

00:55:15Things will get better now.

00:55:17Will they?

00:55:18You're tired.

00:55:20It's taken it out of you.

00:55:22It has.

00:55:23It has.

00:55:26Thank you, Muriel.

00:55:32Thank you for everything you've done.

00:55:35Celia wouldn't be dead

00:55:36if it weren't for me.

00:55:37But I didn't kill her

00:55:38and I don't know who did.

00:55:39You used to meet

00:55:40at Caroline Dupain's flat.

00:55:42Yes, yes.

00:55:42We used to meet at her flat.

00:55:44Caroline Dupain.

00:55:45How long have you been

00:55:50on intimate terms

00:55:51with Caroline Dupain?

00:55:53I wouldn't say

00:55:54I was intimate with her.

00:55:55She let you use her flat

00:55:56for sex.

00:55:59I can see how that might look.

00:56:01Two people have been murdered.

00:56:03Their families are desperate

00:56:04to know what happened to them.

00:56:08We were both members

00:56:09of a gathering.

00:56:11It's called the 96.

00:56:12Arranged over the Internet.

00:56:13The meetings were

00:56:15in Caroline's flat.

00:56:16What sort of gathering?

00:56:19One where the rich

00:56:20and powerful

00:56:20get to enjoy sex

00:56:22with no strings attached.

00:56:24Celia was a member too

00:56:25but she fell in love

00:56:26with me.

00:56:29The 96 doesn't cater for that.

00:56:34I'll bring you a solicitor.

00:56:36I'll bring him now.

00:56:36We broke the rules.

00:56:43We met outside the remit

00:56:44of the 96.

00:56:46We used the flat

00:56:47for private meetings.

00:56:48She was 19 years old.

00:56:49Do you really think

00:56:50she had the discretion

00:56:51for that sort of thing?

00:56:52No.

00:56:53Is that why

00:56:54she had to die?

00:56:55Her death

00:56:56was nothing to do

00:56:57with the 96.

00:56:58How did you know that?

00:56:58She was two months pregnant.

00:57:04Did you know that?

00:57:09Dave,

00:57:09taking Caroline Dupain

00:57:10to Hempstead, look.

00:57:11The words you spoke

00:57:12to Mrs Clutton

00:57:13as you were leaving,

00:57:14it looks as if

00:57:15someone's lit a bonfire.

00:57:16I might have said that.

00:57:18I think I knew,

00:57:19to be honest,

00:57:19there was a bit more

00:57:20to it than that.

00:57:20How much more?

00:57:21Well, I could see

00:57:23it was the garage

00:57:24when I drove past,

00:57:25that there was a car in there.

00:57:27I didn't know

00:57:27somebody was in it.

00:57:28You'd never heard

00:57:29those words

00:57:30before you spoke them?

00:57:31No.

00:57:32Have you heard

00:57:33of Alfred Arthur Rouse?

00:57:35No.

00:57:36He said words

00:57:37very similar to that

00:57:38after he murdered someone

00:57:40in the same way

00:57:41in 1930.

00:57:42I've never heard

00:57:43those words before

00:57:43and I didn't murder

00:57:45Neville Dupain

00:57:45or Celia.

00:57:49You say that you left

00:57:51when you realised

00:57:52that Celia wasn't there.

00:57:53Her car wasn't there

00:57:54and I couldn't see

00:57:55a light on

00:57:56in Caroline's flat.

00:57:57You didn't open the door?

00:57:59Well, just to peer in,

00:58:00the hall was dark.

00:58:02And what about the lift?

00:58:03Was it on the ground floor?

00:58:04Yes.

00:58:04Sure?

00:58:06Yes.

00:58:06If it had been up,

00:58:08I would have assumed

00:58:08Celia was in the flat.

00:58:11I knew he'd be

00:58:12a hopeless liar.

00:58:13Unlike you.

00:58:17I've withheld

00:58:17nothing material

00:58:18to the case.

00:58:19Unless you know

00:58:19who murdered your brother,

00:58:20there's no way

00:58:21that you can know

00:58:22what is or isn't material,

00:58:23Kate.

00:58:24Caution the suspect, please.

00:58:27Yeah, pills,

00:58:28pills,

00:58:29multi-storey,

00:58:30shotgun,

00:58:30that's four.

00:58:33Hanged,

00:58:33slit wrists,

00:58:34poisoned.

00:58:35Yeah,

00:58:36there's five more.

00:58:36Come on, please.

00:58:40Look,

00:58:40I will personally pay you

00:58:41half an hour's overtime

00:58:42out of my own pocket.

00:58:44Trust me,

00:58:44I'm a policeman.

00:58:45Why did you make

00:58:46no mention of the 96

00:58:47before now?

00:58:48It wasn't relevant.

00:58:49The masked man

00:58:49seen by James Calderhale?

00:58:51Back in February.

00:58:52He might just have been

00:58:52parking where he shouldn't.

00:58:53Did you know that

00:58:54Martisham was there

00:58:55on Friday night?

00:58:56I can't wave a magic wand

00:58:57for him and make it

00:58:58all all right.

00:58:58Did you know?

00:58:59Not at the time.

00:59:00Soon after?

00:59:03Who told you?

00:59:05A mutual acquaintance.

00:59:06Who?

00:59:07An anonymous email.

00:59:08Oh,

00:59:09an anonymous email

00:59:09from a mutual acquaintance.

00:59:11No,

00:59:11contradiction in terms.

00:59:12It was anonymous

00:59:13but claimed to be

00:59:14from a mutual acquaintance.

00:59:15So you advised Martisham

00:59:16to keep quiet

00:59:17about the 96

00:59:18and then said nothing yourself?

00:59:19There's no relevance

00:59:20to the case.

00:59:20Oh,

00:59:21so then you do know

00:59:21who killed your brother

00:59:22and Celia Mellon?

00:59:24No.

00:59:24Then you're no judge

00:59:25of what's relevant,

00:59:26but still,

00:59:27you put words

00:59:28into Martisham's mouth

00:59:29about how Celia

00:59:30and her killer

00:59:31might have hidden

00:59:31in the cellar.

00:59:33They might.

00:59:33Yes,

00:59:34and they might have come

00:59:34down the chimney

00:59:35like Father Christmas.

00:59:36Do you know what it means

00:59:36to pervert the course of justice?

00:59:38I know precisely

00:59:39what it means.

00:59:39Then you'll know

00:59:40precisely

00:59:40that that's what you're doing.

00:59:42How did the 96 start?

00:59:46My husband set it up.

00:59:48I've run it since he died.

00:59:49There's money

00:59:50in meeting a need

00:59:51not catered for.

00:59:52What need is that?

00:59:53What a powerful man needs.

00:59:56His guilt-free sex

00:59:57with women

00:59:57who enjoy it

00:59:58as much as he does

00:59:58and have as much to lose.

01:00:01And Celia Mellon,

01:00:03was she what

01:00:03a powerful man needed?

01:00:05Celia's death

01:00:06had nothing to do

01:00:07with the 96.

01:00:07How do you know?

01:00:09Whoever killed Celia

01:00:10killed Neville

01:00:10and Neville didn't know

01:00:12anything about the 96?

01:00:13No way you can be sure

01:00:14of that.

01:00:15The only people

01:00:16meeting there that night

01:00:17was Celia and Martich.

01:00:18The only people

01:00:18scheduled to meet

01:00:20there that night

01:00:20was Celia and Martich.

01:00:24How many other people

01:00:25have keys?

01:00:28I don't know.

01:00:30Everyone in the 96?

01:00:31Not everyone.

01:00:32Not everyone.

01:00:33Some people meet elsewhere.

01:00:34Well then how many?

01:00:35Dozen?

01:00:37A hundred?

01:00:37Your imagination's

01:00:38running away with you.

01:00:39You told me that only

01:00:40you and Muriel Godby

01:00:41had keys.

01:00:43When Celia Mellon's

01:00:45handbag was found

01:00:46there were no keys

01:00:46in it at all.

01:00:47Don't you think

01:00:47that's odd?

01:00:49Were you personally

01:00:51involved in issuing

01:00:52keys?

01:00:54No.

01:00:55Members gave them

01:00:55to other members?

01:00:56Something like that.

01:00:57Something like that.

01:00:57They do, yes.

01:00:59So almost anybody

01:01:00could have a key

01:01:01to your flat?

01:01:02Not anybody.

01:01:04All right then.

01:01:05Any powerful man

01:01:06or woman

01:01:06in need of guilt-free

01:01:08sex.

01:01:10But suppose

01:01:11your guilt-free

01:01:11set-up produced

01:01:12a jealous rage

01:01:13in one of its members.

01:01:14Marticham.

01:01:16Or somebody who was

01:01:16jealous of Marticham

01:01:17and Celia.

01:01:19A member of the 96

01:01:20with a key to your flat.

01:01:22Somebody like that

01:01:23could easily

01:01:24have killed Celia.

01:01:25Or your brother.

01:01:26if he saw something

01:01:28that he shouldn't have.

01:01:29Yes.

01:01:30You thought of that

01:01:30one yourself,

01:01:31didn't you?

01:01:33And yet you chose

01:01:33to say nothing

01:01:34all this time

01:01:35despite the death

01:01:37of your brother.

01:01:41I have two brothers.

01:01:43Locking up, Muriel?

01:02:09The police came

01:02:11for Miss Dupain.

01:02:12To arrest her?

01:02:14They asked her

01:02:14to go with them.

01:02:16Oh God.

01:02:24Does my sister

01:02:26confide in you,

01:02:28Muriel?

01:02:30Sometimes.

01:02:32About me?

01:02:33Not a fair question.

01:02:38Not a fair question.

01:02:52I don't know

01:02:53how it took me so long.

01:02:55It must have been

01:02:55shocker thing.

01:02:57As soon as I heard

01:02:58his voice on the TV,

01:03:00it just all came back

01:03:01like a flash

01:03:03of recollection.

01:03:05Really,

01:03:05just like a flash.

01:03:07Marvelous.

01:03:08Let you go

01:03:09and help me

01:03:09on the Alcott.

01:03:10The police people

01:03:12have left a bit

01:03:12of a mess.

01:03:15I'm going out.

01:03:18Oh,

01:03:18I think you should

01:03:19stay in, Ryan.

01:03:20Get an early night.

01:03:22I want to get

01:03:22my things

01:03:23from the flat.

01:03:24Oh,

01:03:25do you need

01:03:25some money

01:03:25for the bus?

01:03:26I'll go across

01:03:27the heath.

01:03:28In the dark?

01:03:28Well,

01:03:30maybe you should

01:03:31take my spare keys.

01:03:33Just in case

01:03:34I'm in bed

01:03:34when you get back.

01:03:40Are you glad

01:03:40Neville's dead,

01:03:41Mrs. Clown?

01:03:42Now you get

01:03:43to keep your job

01:03:43in the cottage.

01:03:46Ryan,

01:03:46how can you say that?

01:03:48You said

01:03:57you had

01:03:58two brothers.

01:04:00Are you saying

01:04:00that Marcus

01:04:01coerced you

01:04:02into keeping quiet

01:04:03about certain things

01:04:04relevant to Neville's death?

01:04:05I had

01:04:06two brothers.

01:04:08One's dead,

01:04:09the other

01:04:10staking his entire

01:04:10existence

01:04:11on the Dupin Museum.

01:04:12He would have been

01:04:13prepared to do

01:04:13anything to keep it going.

01:04:14I was prepared

01:04:15to do certain things

01:04:15to help him

01:04:16keep it going.

01:04:17Such as?

01:04:18Such as signing

01:04:19the lease

01:04:20before Neville's

01:04:20even buried.

01:04:22And?

01:04:23And keeping quiet

01:04:24about the 96.

01:04:25Because he's a member?

01:04:27He doesn't know

01:04:27anything about it.

01:04:28Then how does it

01:04:29affect the future

01:04:30of the museum?

01:04:33Has someone

01:04:33suggested to you

01:04:34that speaking out

01:04:35about the 96

01:04:36might jeopardize

01:04:37the future

01:04:38of the museum?

01:04:42Ah.

01:04:42who would do something

01:04:46like that?

01:04:47Are you trying

01:04:49to tell me

01:04:49you haven't heard

01:04:49from them yourself?

01:04:51The powers that be.

01:04:52I was just coming

01:04:58to help you.

01:04:58No need.

01:05:00I saw Ryan

01:05:01leaving.

01:05:02Isn't he staying

01:05:02with you after all?

01:05:04Yes.

01:05:04He's just gone off

01:05:05to get his things.

01:05:06Have the police

01:05:07ruled him out

01:05:07of the investigation?

01:05:09I think so.

01:05:14Did you recruit

01:05:15Celia to the 96?

01:05:16I didn't even know

01:05:17she was a member.

01:05:18No one knows

01:05:18who anyone is.

01:05:19We wear masks.

01:05:20It's all done

01:05:21through the net

01:05:21using pseudonyms

01:05:22and encryption.

01:05:23A mask can't hide

01:05:24your identity

01:05:25when you're having sex.

01:05:26Are you speaking

01:05:26from personal experience?

01:05:27Shall we stick

01:05:28to the case?

01:05:28I wish you would.

01:05:30Another thing

01:05:30you didn't tell me.

01:05:31Your brother Neville

01:05:32was adopted.

01:05:33Another thing

01:05:34that isn't relevant?

01:05:35Isn't it?

01:05:35Why would it be?

01:05:36You and your brother

01:05:37were at odds with him.

01:05:38By my brother

01:05:38you mean Marcus?

01:05:39Marcus, yes.

01:05:40And?

01:05:40Put bluntly,

01:05:42you might have had

01:05:42fewer qualms

01:05:43about taking

01:05:44drastic action.

01:05:45Because he was adopted?

01:05:46Because he was adopted.

01:05:48Are you accusing me

01:05:50of murdering Neville?

01:05:51I'm asking you

01:05:51why you didn't tell me

01:05:52Neville was adopted.

01:05:53I've answered that question.

01:05:56When Martlesham arrived

01:05:58the lift from your flat

01:05:59was at the ground floor.

01:06:00Now, people with keys.

01:06:02You, Muriel Godby,

01:06:03Martlesham

01:06:04and various unspecified

01:06:05members of the 96.

01:06:07One of you took that lift

01:06:08down to the ground floor

01:06:09after Celia was killed.

01:06:11Was it you?

01:06:12Of the 12 suicides

01:06:22on Neville Dupain's records,

01:06:24one set herself on fire.

01:06:26Yes.

01:06:26Family structure?

01:06:28Suicide was a girl of 17.

01:06:29Now, this is 15 years ago.

01:06:31There was a father,

01:06:33there was a sibling,

01:06:34mother dead.

01:06:35Age and sex of sibling?

01:06:36We'd need a warrant.

01:06:37Oh.

01:06:38Revenge killing.

01:06:39Someone getting back

01:06:40at Neville Dupain

01:06:41for failing this girl

01:06:42who set herself on fire.

01:06:44Who does that put in the frame?

01:06:47Well, Muriel Godby's got a sister

01:06:48but she's alive.

01:06:50Keeps pestering

01:06:50her to come and stay.

01:06:53Oh!

01:06:54There you are, Tomcat.

01:06:57Are you coming too?

01:06:58Oh, well, never mind.

01:07:03Ryan Archer.

01:07:07This is 15 years ago, right?

01:07:10His mother could have been 17

01:07:12when she had him.

01:07:13Then if she killed herself,

01:07:15that could explain

01:07:16why Ryan Archer

01:07:16was put into care.

01:07:18This could be his revenge.

01:07:21I'll get on with the warren.

01:07:22We'll get the name.

01:07:23What about our ladyship?

01:07:24No, we've done that.

01:07:25Find Muriel and Ryan.

01:07:26Ryan.

01:07:26What about our ladyship?

01:07:29Uh-huh.

01:07:29All right.

01:07:59I don't know.

01:08:29I don't know.

01:08:59I don't know.

01:09:29I don't know.

01:09:59I don't know.

01:10:29I don't know.

01:10:31Oh, she was here.

01:10:32Are you in the museum now?

01:10:33I saw a light on in the museum, so I came over to switch it off.

01:10:36I remembered that when I went back to my cottage on the night of the murders, my front door wasn't double locked.

01:10:42I double locked it when I went out.

01:10:44I'm sure I did, but when I got back...

01:10:46Mrs. Clunton?

01:10:47I'm wondering now.

01:10:48Is there anyone with you there, Mrs. Clunton?

01:10:50No.

01:10:51And when you say Ryan's fetching some things, do you mean from his archway address?

01:10:54Yes, I suppose...

01:10:56Was it you that locked up the museum this evening?

01:10:58Muriel did it.

01:10:59I came over to help her...

01:11:00Have you known Muriel leave a light on before?

01:11:02Well, no.

01:11:03And you say she's gone.

01:11:04Her car's not in the car park.

01:11:05Are you sure there's no...

01:11:06Um, I'll just put my glasses on. Hang on a minute. I'll check.

01:11:09Yeah, but don't leave the phone...

01:11:11Oh.

01:11:12Stay with the phone, Mrs. Clunton.

01:11:23Oh, I'm sorry.

01:11:26What about the car's registration?

01:11:29L-355-R-N-J.

01:11:33My Fiesta.

01:11:34You're looking straight after me.

01:11:36Hello?

01:11:38Hello?

01:11:41Mrs. Clunton?

01:11:42Pick up the phone, Mrs. Clunton.

01:11:44Hello?

01:11:45Hello?

01:11:46Yes, Alice.

01:11:47Oh, no. No cars in the car park.

01:11:49When did you last see either of them?

01:11:51Uh, Ryan went about an hour ago, and Muriel's soon after.

01:11:54Right, Mrs. Clunton, I'm at Hampstead Police Station.

01:11:57I'm only five minutes away, and I'm gonna come and see you.

01:11:59Listen carefully. I want you to go back to your house, bolt the door, and wait for me.

01:12:02Do you understand? That'll be five minutes.

01:12:03Oh, all right, if you say so.

01:12:05I'll be right with you.

01:12:06I'll be right with you.

01:12:07I'll be right with you.

01:12:11Let's go.

01:12:13I'll be right with you.

01:12:15I'll be right with you.

01:12:17I'll be right with you.

01:12:19I don't know.

01:12:49I don't know.

01:13:19But her sister's a lion.

01:13:24Oh, my God.

01:13:29Tomcat!

01:13:31Come, come.

01:13:36Oh, my God.

01:13:40Tomcat!

01:13:41Tomcat!

01:13:42Tomcat!

01:13:43Tomcat!

01:13:45Tomcat!

01:13:46Tomcat!

01:13:47Tomcat!

01:13:48Tomcat!

01:13:50Tomcat!

01:13:52Tomcat!

01:13:53Tomcat!

01:13:54Tomcat!

01:13:56Oh, my God.

01:13:57Ah, my God.

01:13:58That's it.

01:13:59Oh, my God.

01:14:01There is no reply.

01:14:05There's no reply. Keep trying.

01:14:35It's all right. It's all right. Come on. Come on.

01:15:05Come on.

01:15:35Come on.

01:15:55The number plate. Tally Clutton must have seen Muriel's car.

01:15:59That's her car. That's her right there.

01:16:06Jesus.

01:16:07You go. I'll find Tally Clutton.

01:16:12I never saw her.

01:16:14Stay there. Stay there.

01:16:15She just came flying out.

01:16:17We've got an RTA on Spaniards Road outside the entrance of the Dupin Museum.

01:16:21No headlights or nothing. I couldn't even break.

01:16:23How long?

01:16:33Mrs. Clutton?

01:16:34Oh, my God.

01:16:37Are you hurt, sir? Are you hurt?

01:16:39Get back in your car and sit down and stay there.

01:16:47Yeah, yeah. I said that. There was a pulse and now it's gone.

01:16:50I'll do that. Fine.

01:16:52Muriel, can you hear me?

01:16:56Every day the museum stays open.

01:17:00Every success.

01:17:03She'll know it.

01:17:06She?

01:17:07I keep talking. The ambulance is on its way.

01:17:09Too late.

01:17:10The tally.

01:17:11She saw your car that night, didn't she?

01:17:14I would have come back to her eventually.

01:17:17So you attacked her?

01:17:19Not for that.

01:17:21Alibi.

01:17:22Caroline.

01:17:25She was in a police station.

01:17:29With you.

01:17:32You battered Tally Clutton to prove Caroline's innocence.

01:17:36And my love.

01:17:39No, no.

01:17:41Don't try and move.

01:17:45Oh, my God.

01:17:49Two minutes.

01:17:52You blamed him for your sister's suicide, didn't you?

01:17:56Neville killed my sister.

01:18:02She called him.

01:18:06He didn't come.

01:18:08Fifteen years ago.

01:18:18Muriel.

01:18:21Muriel, don't go to sleep.

01:18:22Don't go to sleep.

01:18:26Tell me about Celia Mellon.

01:18:28Was she just in the wrong place at the wrong time?

01:18:30Wrong for her.

01:18:33Do you enjoy killing her?

01:18:35Ghastly.

01:18:37God be.

01:18:38They call me.

01:18:41At least...

01:18:43I live and breathe.

01:18:54Not for long.

01:18:57Is that it?

01:18:59How's Tally Clutton?

01:19:12I recovered her pulse, but...

01:19:14Passing the killings off as copycat murders.

01:19:17She got that idea from what Martlesham said about the fire?

01:19:20She got lucky, though, and led us on a wild goose chase with a tin trunk and the petals.

01:19:26Muriel.

01:19:28She was in love with you.

01:19:31Killing your brother was her gift to you.

01:19:34She worshipped you.

01:19:35You never noticed.

01:19:37You wonder, don't you, if I put her up to it.

01:19:40Well, she didn't know me, and neither do you.

01:19:42The Dupains don't show emotion.

01:19:45We're trained not to.

01:19:46And in a hard school.

01:19:48But I loved Neville.

01:19:51He was the best of us.

01:20:12Madam, you remember Bruno Denham, MI5?

01:20:18Done a good job here, Commander.

01:20:20And with the perpetrator dead, we won't have loose ends.

01:20:24So, let's get it wrapped up.

01:20:27We expect you'll report first thing to watch.

01:20:28Shall I include the transparent lie about my being here to cover Calder Hales back,

01:20:33and he knew nothing about it?

01:20:35We can't have everybody knowing everything.

01:20:42It's nice to feel appreciated.

01:20:50Talking about everybody knowing everything.

01:20:53Tally Clutton's glasses.

01:20:55It was on the night of the murder.

01:20:56I asked her if she could remember Martha Shindle's number plate.

01:20:59And she came up with the one from Neville DuPain's Jag.

01:21:01And then she corrected herself.

01:21:02And gave us Muriel Godby's Fiesta.

01:21:05Yes, because she saw Muriel's car that night before she was knocked down.

01:21:08She saw it, but she failed to recognize its true significance.

01:21:11But she was staring straight at it from the house.

01:21:14Muriel pointed that out.

01:21:15Well, it's true.

01:21:15She was looking at it through the window, but she wasn't wearing her glasses.

01:21:19And then later on, when I asked her to check the car park from the museum,

01:21:23the first thing that she did was to put her glasses on.

01:21:39Special delivery.

01:21:41She made me promise.

01:21:45Doesn't mean I've changed my mind about you.

01:21:51I'll be arriving tomorrow on the 11.15.

01:21:54If you're not there, I'll know there's no future for us.

01:21:57Oh, thanks for coming round.

01:22:14How's Sally Clutton?

01:22:15Conscious.

01:22:16Improving.

01:22:16Good.

01:22:17Very good.

01:22:18Here's the report for heartless.

01:22:19You drop it on his desk.

01:22:20Sorry.

01:22:27The station, please.

01:22:33Could we do 30 instead of 20?

01:22:36Hello?

01:22:42What now?

01:22:43You've got the report.

01:22:4815 minutes and that's it.

01:22:51Yes, I'm on my way.

01:22:52Just come in for a second, Adam.

01:22:58We have a train to meet.

01:23:00We won't keep you.

01:23:00You make it clear that the private gathering,

01:23:11or maybe I should say the meetings of friends of Caroline Dupain,

01:23:14wasn't responsible for the death.

01:23:15Only one person was responsible, Muriel Godby.

01:23:18And the only effect of making it public

01:23:19is to embarrass Martlesham and Caroline Dupain.

01:23:22If it wasn't for the 96,

01:23:23the gathering of friends,

01:23:26then Celia Mellick wouldn't have been at the Dupain

01:23:28and she wouldn't have been murdered.

01:23:33Apparently, a prominent foreign national,

01:23:36an important man, a good friend of this country,

01:23:38has asked us to ensure the 96 is not mentioned.

01:23:41Wouldn't it be fair to say

01:23:43that Celia Mellick,

01:23:45possibly accompanied by a friend or lover...

01:23:47Meet in the cellar?

01:23:49Yes, that is a possibility,

01:23:52and it shows up nowhere in your report.

01:23:55Because it is completely implausible

01:23:58and serves only to benefit Caroline Dupain

01:24:00and her fellow members of the 96,

01:24:02whoever they might be.

01:24:04We're really talking about

01:24:06a very few minor amendments, Adam.

01:24:08If you look at pages 15...

01:24:09You asked me to give you a full report,

01:24:11and you have it.

01:24:12If you wanted a different report,

01:24:14you should have asked for a different detective.

01:24:16We asked you, Commander,

01:24:17because we were assured that you were...

01:24:18I was assigned this case on the basis of a lie.

01:24:21Now you want me to put my name to another lie.

01:24:26Well, I'm sorry.

01:24:27I put truth before discretion,

01:24:28before politics too.

01:24:31And there are inquests to follow.

01:24:34The coroner will be confining his questions

01:24:36to what's relevant in establishing the cause of death.

01:24:38Like a good servant of the crime.

01:24:40Emma.

01:24:46I have told myself that I'm writing this

01:24:49because it will give you time to consider

01:24:51before you reply.

01:24:54But that may only be cowardice.

01:24:58To read rejection will be more bearable

01:25:00than to see it in your eyes.

01:25:02I have no reason to hope.

01:25:09You know that I love you.

01:25:12But my love gives me no claim.

01:25:17Other men have said these words to you,

01:25:19and they will again.

01:25:21And I can't promise to make you happy.

01:25:24It would be arrogant to assume

01:25:26that such a gift lay in my power.

01:25:28If I were your father, your brother,

01:25:32or merely a friend,

01:25:33I could find plenty of reasons

01:25:35to argue against myself.

01:25:37But you know them already.

01:25:41Only the greatest poets could speak for me.

01:25:44But this is not a time for other men's words.

01:25:47I can only write what is in my heart.

01:25:52My only hope

01:25:53is that you may care enough

01:25:56to risk this adventure together.

01:25:59For me, there is no risk.

01:26:02I can hope

01:26:02for no greater happiness

01:26:04than to be your lover

01:26:05and your husband.

01:26:08The U.S. train

01:26:09leaving from 1.4.10.

01:26:11The 11.45

01:26:13the direct train

01:26:14to Cambridge.

01:26:15Oh, yeah.

01:26:16Oh.

01:26:18Oh, what?

01:26:18What?

01:26:19Oh.

01:26:20Oh, my God.

01:26:24Oh, my God.

01:26:28I need you to read this.

01:26:58I need you to read this, will you?

01:27:25Clara says you're an emotional cripple.

01:27:27When I read this, I know it's not true, but when I talk to you...

01:27:31No, no.

01:27:35All it says is...

01:27:36I need you to read this.

01:27:38I need you to read this.

01:27:40I need you to read this.

01:27:50I need you to read this.

01:27:54I need you to read this.

01:27:58I need you to read this.

01:28:00I need you to read this.

01:28:02I need you to read this.

01:28:04I need you to read this.

01:28:14I need you to read this.

01:28:20You

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