♪ ♪ SUSAN: "Pünd's Last Case."

Who's gonna write it?

Eliot Crace.

His grandmother was the most successful writer this country's ever seen.

ELAINE: She was a monster.

SUSAN: She died a natural death.

What gave you that idea?

Mr.

Pünd!

I heard something that shocked me to the core.

JONATHAN: Your job is to protect us from Susan Ryeland.

Get off!

Read Eliot's book.

That's where you'll find the answer.

♪ ♪ ♪ ♪ (thunder claps) (whimpers) (click) ♪ ♪ ♪ ♪ YOUNG ROLAND, JULIA, AND ELIOT: Tenet, opera, rotas.

Sator, arepo, tenet, opera, rotas.

Sator, arepo, tenet, opera, rotas.

Wolfsbane-- Aconitum napellus.

Picked at the time of the full moon.

Funeral bell mushrooms.

So poisonous, you can't even touch them.

Morphine stolen from Dr.

Lambert.

Have one teaspoon and you'll sleep all day.

Have any more and you'll never wake up.

♪ ♪ Deadly nightshade.

YOUNG JULIA: Magnesium.

YOUNG ELIOT: Arsenic.

♪ ♪ ♪ ♪ ♪ ♪ We all know what has to be done to Grandma.

Mm-hmm.

Mm-hmm-- mm.

And we will do it, but we must never, ever, tell.

(thunder claps) ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (audience laughing) Yes, I never thought I would be a children's author.

You know, I started life as a church organist.

My father was a deacon at our local church.

I was looking at the stained glass windows, and some of the figures looked so small, they inspired me to write stories about the Tiny People, a family who want to help make the world a better place, even though they're only three inches tall.

Or five centimeters, I should say.

My publishers made me change that.

(all chuckling) HOST: And Miriam Crace, 300 million copies later... JONATHAN: Roland, why are you watching this?

It's Grandma's last interview.

You said you wanted something on the screen.

For the party.

I wouldn't call it a party.

It's the 20th anniversary of my mother's death.

It's not exactly an occasion for balloons and party hats.

A celebration, then.

Commemoration.

Whatever.

Have the invitations gone out?

Yeah, went out yesterday.

I didn't see the final list.

Oh, I thought they'd been approved, Uncle Jonathan.

Did you invite Eliot?

Yes, of course I did-- why wouldn't I?

You really want me to answer that?

Well, you didn't tell me not to, so... Roland, why is it that whenever I leave you to work on your own initiative, I always regret it?

You know my feelings about your brother.

Well, I wasn't not gonna invite him.

She was his grandmother, too.

Well, let's hope he's busy.

♪ ♪ (footsteps approaching) (door closes, keys jangling) (keys drop on shelf) Hm, we going?

I am.

Eliot.

Well, why would you want to go?

You never even met my grandmother.

And you know how I feel about her.

So why are you going?

Why shouldn't I?

I helped kill her.

♪ ♪ ♪ ♪ (buzzer sounds) Katie!

(laughing): Come here!

Hello!

Come in.

Go on, then.

What?

You want to know about me and Andreas.

(sighs) Well, I, I wasn't gonna ask.

It was my fault, not his.

I tried to like Crete, I really did.

And it's a lovely place, but... Not for me.

Not to live in.

Plus, I missed publishing.

What about Andreas?

He was so busy with the hotel, we hardly saw each other.

He understood.

And what will you do now?

Well, that's the good news.

I may have been offered a job.

Came through a headhunter, out of the blue.

Causton Books: decent-sized independent-- senior editor.

(chuckles) How are you?

You missing Suffolk?

Uh, no, no, not really.

I like Elstree.

And I've started seeing someone.

(gasps) You didn't tell me!

Well, it's early days, so... What's his name?

David.

Uh-huh?

He's in finance.

He's two years older than me.

Single?

Mm, divorced, no children.

So when am I gonna meet him?

Oh, it-- well, it's too soon for all that.

Oh, I forgot-- I've got you something.

Here you are.

(Hugo meows) Katie, you haven't.

His name's Hugo.

Look, look, it's really kind of you, but I'm, I'm just not a cat person.

He's four years old, he's a rescue.

Don't you think it's a bit cliché?

What are you talking about?

I'm on my own, I know that.

But this tells me I'm on my own.

(Hugo meows) Just give him a try.

Well, I've committed to him now.

I can't take him back.

(Hugo meows) Anyway, at least it means you won't have any mice.

Perhaps I prefer the mice.

He'll look after himself, I promise.

No, he won't!

(Hugo meows) ♪ Oh, you think you're special, you're a creature of habit ♪ ♪ I know what you're thinking, it's becoming a pattern ♪ ♪ Looking for the smile ♪ ♪ I'd do anything to make them see you ♪ ♪ All you want is lights ♪ (snapping) Not on the chair.

Off!

♪ Don't you feel empty longing for mentions?

♪ ♪ Looking for the smile ♪ ♪ I'd do anything to make them see you ♪ Bye.

(phone rings) (song continues on speakers) You can go through now.

Oh, thanks.

(lock clicks) ♪ ♪ SUSAN: Atticus Pünd.

RECEPTIONIST: It's open.

I've buzzed you in.

Right.

♪ ♪ (song continues on speakers) Susan!

Yes.

Hi, I'm Matthew Flynn.

Hi.

It's great to meet you.

Oh, thanks for getting in touch.

Not at all-- you come highly recommended.

(laughs) Come on in.

Thanks.

MATTHEW: We have a situation that needs... (blows out) How can I put this?

Careful handling.

That's intriguing.

(chuckles) It's a one-off book.

New writer-- well, relatively new.

But he needs a bit of guidance.

The idea is that you would work with him, help him.

(phone ringing in background) This wouldn't have anything to do with Atticus Pünd, would it?

Who, who told you that?

It's just a premonition.

Well, you're right, it is.

What would you say if I told you we were going to publish a new Atticus Pünd detective story?

(laughs) Well, since the only way Alan Conway could write it would be via a Ouija board, I assume you mean a continuation novel.

Exactly.

So who's gonna write it?

Eliot Crace.

Eliot?!

You're not serious!

Mm-hmm.

Was it him who recommended me?

No, no, no, uh, but he did mention you'd worked together before.

That's not quite true.

It was Charles Clover who commissioned him, not me.

"The Doctor Gee Mysteries."

They didn't do well.

No.

Eliot wasn't a bad writer.

It's just the idea was the problem.

How would you feel about working with him again?

(chuckles) The last time I saw Eliot, he was an hour late for the meeting and he was covered in blood-- he said he'd fallen off a bus.

(both chuckling) He hadn't washed for a week and he reeked of cigarette smoke.

Don't prejudge him.

He's married now, he's settled down.

(sighs) Well, I suppose I could meet him.

Let me ask you a question, Matthew.

And be honest.

Why Eliot?

I'd have thought that'd be obvious.

Miriam Crace.

His grandmother was the most successful writer this country's ever seen.

The name Crace is a huge brand.

If only one percent of her fans buy Eliot's book, it'll be a huge bestseller.

(both chuckle) Well, it didn't work last time.

(chuckles) But this time, it's Atticus Pünd.

Hm.

Eliot!

Oh!

Sorry to keep you waiting.

Hi.

That's okay.

Susan Ryeland, Eliot Crace.

Eliot, this is Susan.

But of course, you know each other.

Yeah, hi, Eliot.

How are you?

I'm fine, yeah, I'm really good.

It's nice to see you again.

Mm.

Why don't I leave the two of you together, see how you get on?

Give me a call later, tell me what you think.

Sure.

We are just through here.

Oh, right.

I hear you got married.

Yes.

Congratulations.

Thank you.

What's her name?

Gillian-- she's a nurse.

Oh, nice, mm.

I couldn't believe it when Matthew said you were gonna work on my book.

Well, I haven't necessarily agreed yet.

(chuckles) Oh.

Well, you've started writing.

These are the first 10,000 words.

Mm-hmm.

What's the title?

"Pünd's Last Case."

It starts straight after "Magpie Murders."

Set in Corfu.

Why Corfu?

My parents used to take me there on holiday.

(both laugh) Yeah, well.

Are you enjoying writing it?

Yeah, yeah, I am, but I'm quite nervous.

(chuckles) Yeah, that's understandable.

I just want it to be a success.

Mm.

And it'd be so nice if, just for once, one thing in my life... (inhales) ...went my way for a change, and this book is... ♪ ♪ I need to know if it's any good.

Mm.

So who else has read it?

No one.

No, just Gillian.

Well, look.

Why don't I read what you've written, take a few notes, and then we can meet up again in day or so's time?

Does that work for you?

Yeah, would be brilliant.

Great.

♪ ♪ Hm.

It's only a first draft.

Of course.

Leave it with me.

Thanks.

Hm.

Bye!

Bye!

♪ ♪ (sighs) (lock turning) (gasps) Not on the chair!

Shoo!

(meows) ♪ ♪ (sighs) ♪ ♪ ♪ ♪ (sighs) ♪ ♪ You're not going to read it?

It's all right-- Alan Conway hasn't written it.

(scoffs) You think that'll make any difference?

I need to work-- I have a mortgage on this flat.

It's not easy for someone of my age to get a full-time job.

You know, I've written in my book... I wondered when you were going to mention "The Landscape of Criminal Investigation."

...there is something that exists which I call the, the inevitability of crime.

It's when two people meet.

They may be friends.

They may have the best of intentions, but there's something in the chemistry of these people which, when it comes together, it takes them to places that they do not want to go.

To violence.

Even to murder.

And that's you and me?

Uh, that, that is how it has always proved.

♪ ♪ I don't know.

(sighs) ♪ ♪ ELIOT: "Pünd's Last Case" by Eliot Crace.

Chapter one.

The Greek island of Kérkyra is known to the world as Corfu, and it is unique in the beauty of its olive groves and orange gardens.

Its perfect beaches and ancient villages with their cobbled streets and passageways.

♪ ♪ This was the homeland of Atticus Pünd, the world's greatest detective, before his family emigrated to Germany.

(man talking in background) ELIOT: And it was to Kérkyra that Pünd returned in what would be the last months of the illness that would end his life.

In particular, he wished to see the town where his great-grandfather had been born.

♪ ♪ (priest chanting) (bell rings) (chant continues) (exhales, bell rings) (chant continues) (bell rings, chant continues) (speaking Greek) (chant continues) (speaking Greek) (exhales) Mm.

Mm.

Perfect.

(chuckles) (speaking Greek) Mm-hmm.

Yeah.

(chant continues) (speaking Greek) (speaking Greek) Thank you.

(chant continues) (people talking in background) (chant ends) You mustn't tire yourself, Mother.

Don't fuss me, dear.

Mr.

Pünd!

Oh!

(chuckling) (Pünd and Lady Chalfont laugh) (with mouth full): Lady Chalfont!

What brings you to Corfu?

Oh, I'm here for my health.

Oh, would you believe it?

So am I!

Or rather, my, my lack of it.

Uh, this is my daughter, Judith Lyttleton.

Mrs.

Lyttleton.

Uh, it's Dr.

Lyttleton, actually.

LADY CHALFONT: Judith is a doctor of archaeology.

And she should know a thing or two about it, hanging around with an old ruin like me.

JUDITH: Mother!

Ooh!

Mr.

Pünd is the detective I've often mentioned to you.

He solved the murder of George Colindale.

I was a suspect.

On the contrary, Lady Chalfont, you were of great assistance to me.

I can't believe I've run into you, of all people.

Will you have a drink with me?

No, Mother, we're expected for lunch.

Nonsense-- lunch can wait.

(bell ringing) The Lord must have answered my prayers, sending you here.

(softly): I very much need your advice.

You know I lost my first husband, Henry, the sixth Earl Chalfont.

Yes, I read of it, I'm sorry.

Oh.

He was a good man.

Successful.

(bicycle bell rings) Rich-- it's thanks to him that I'm here.

He bought us our summer home on Corfu.

The Villa Belmar.

So you are here for the season.

My last season, Mr.

Pünd, or so my doctors assure me.

Oh... No, no, no, I'm, I'm happy.

I have my family around me.

And my second husband, Elmer Waysmith.

You did not take his name?

(softly): I like my title-- why would I want to lose it?

(chuckles) And how did you meet Mr.

Elmer Waysmith?

Well, he's American, but he has a gallery in London.

He buys and sells Greek and Roman antiquities.

I was a customer.

He also advised me on my late husband's collection.

And you are happy together?

Mm.

We are.

We were, but, um, that's why I have to see you, um.... A week ago, when I was sitting in my bedroom at the villa, I overheard something that shocked me to the core.

Something relating to your second husband?

Yes.

Mm.

But, uh, I don't want to talk about it now.

You must come to the villa.

(car horn honks) HARRY: Hello, darling!

Hello, Mama!

Your chauffeur awaits!

I'm afraid that's my husband, Harry-- we should go.

Uh, but I haven't finished.

You know Maria gets upset if we're late for lunch, Mother.

And I'm sure Mr.

Pünd has things to do.

Will you come for dinner the weekend, dear Mr.

Pünd?

Uh, the day after tomorrow.

I do want to talk to you.

I need your advice.

(horn honking) I'm also here for my health, Lady Chalfont.

We have the best chef on the island.

And the villa is beautiful.

Shall we say 7:00?

(horn honking) How can I refuse?

Where are you staying?

The Xenia Hotel.

The Xenia, yes-- yes, yes, of course.

I shall send a car for you, although the roads are terrible.

Um, Mr.

Pünd.

Thank you-- I, I love my husband, but I can't tell you how much this has been preying on my mind.

Yeah.

Mm?

(car door opens) ♪ ♪ HARRY: Darling.

(cat meows) (meows) What do you want?

You hungry?

(meows) Um... Tuna, tuna.

Mm.

(meows) (smacks lips) No tuna.

(birds chirping) (lock turns) (keys jangling) GILLIAN: You've been a long time.

I was writing.

Did you see her?

Yes.

She is reading it.

That's wonderful.

Eliot.

(exhales) Um, your father's here.

Don't lose your temper with him, please, he only wants to talk.

(footsteps approaching) Eliot.

Hello, Pa.

You're looking well.

What are you doing here?

I've come to see you.

(chuckles) Sit down, Eliot, I'll, I'll make you a coffee.

No, I don't want a coffee, thank you.

Why didn't you call?

Well, well, I, I wanted to, uh, to see the house.

Mm?

So you just thought you'd walk in.

Well, it is my house.

(chuckles) You've not looked after it.

Did you come with some decorating tips?

No, no, no, no.

Um, I, I need to talk to you.

(sighs) It's been two years.

Why now?

I'm afraid I have some bad news.

Your mother and I have come to a decision.

We're getting a divorce.

Why is that bad news?

Eliot!

What, they walked out on me, Gillian.

They went to America, and they never gave any of us another thought.

That, that's not true!

You know that!

I, I let you live here.

I, I talk to Roland and, and Julia all the time.

I, I've tried to support both of you!

That's, that's not why I'm here.

Well, what, then?

I'm afraid I'm gonna have to sell the house.

I've, I've already been talking to estate agents and, um, the first ones are coming next week.

(sighs) (exhales) Is that it, Pa?

You're putting us out on the street?

Out on the-- no.

Look, I've, I've got no choice.

Your mum's kept the house in Miami.

I've, I've left my job.

I've nowhere to live.

Unless I move in here with you.

No way.

Well, I knew you'd say that, so, all I can do is sell the house and give you some of the money to help you set up on your own.

♪ ♪ (grunts) All of my life, all my life, all you've ever done is hurt me.

You and Grandma.

Eliot!

Just when things are going well for me, you come back, you stick the knife in, and you ruin everything.

I've said I'll help you.

No, the only way that you could help me is if you'd never been born!

♪ ♪ Mm!

(meows) Yummy, yummy.

(meows) There-- happy now?

(purring) (sighs) Right.

ELIOT: The morning of that last day began as it always began at the Villa Belmar, with fresh bread and sunshine.

(speaking Greek) (both speaking Greek) (truck door opens) ♪ ♪ (insects buzzing) ♪ ♪ ELIOT: Breakfast had been laid for seven on the terrace.

Due to her illness, Lady Margaret Chalfont seldom rose before midday.

She would lie in bed enchanted by the view, while outside, her second husband, Elmer Waysmith, would read the day's news.

Her eldest son, Jeffrey, the seventh Earl Chalfont, who was there with his wife and son, had no love of Corfu.

(Jeffrey sighs) Why does Corfu have to be so hot all the time?

Because it's in Greece, Jeffrey.

I know where it is, Lola.

I just don't want to be here.

Yeah, it is damn hot, definitely.

CEDRIC: I hate it here.

No, Cedric, you don't.

Yes, I do.

I have no friends.

I'm bored.

Why do we have to stay?

Because that's what my father wants.

I only want what's good for Margaret.

She needed to be here, and you, all of you, might be a little more sympathetic.

Her last summer.

We're all here, aren't we?

(Jeffrey sighs) Look, I, I have to go.

I have a meeting at the hotel.

ELMER (chortling): Hotel?

Really, Harry?

Last time I looked, it was a concrete skeleton.

It could be anything.

Thanks, Elmer.

Well, I warned you against it.

You didn't listen.

I asked you for help.

You were the one who didn't listen.

Won't be long.

(kisses) Be as long as you want, dear, I'm working on my presentation.

Still going on about your scratchings in the desert?

The Nazca Lines are one of the wonders of the world, created more than 2,000 years ago.

The Peruvian government will destroy them if we don't raise money for their protection.

Are they really scratched in the sand, Aunt Judith?

No, Cedric.

They were drawn with incredible mathematical precision.

I'm still waiting for an answer.

Remind me, what was the question?

The money.

Of course.

Money.

Money.

Money.

That's all this family ever talks about.

I'm going out.

Remember, we're having lunch at Votsalo.

Haven't forgotten, Pa.

1:00.

Don't be late.

And Robert, bring the catalogue.

I want to see how you're getting on.

Why do you always let him boss you around like that?

'Cause he's my father.

I am glad he's not mine.

(footsteps approaching) (Maria clears throat) Maria, I want my cigarettes.

I left them in the drawing room.

Yes, sir.

♪ ♪ ♪ ♪ ♪ ♪ ELIOT: Later that morning, Harry Lyttleton made his way towards the hotel that he was building at Pontikonisi, close to the main capital.

♪ ♪ As Elmer Waysmith had said, the development was far from complete.

♪ ♪ Hello, Kristos.

Michalis.

Uh... (stammering): Where is everyone?

They've gone home.

Wh... Uh... (stammers) Shouldn't they be working?

They haven't been paid.

We want money.

Well, I've already given you 30% of what we agreed, and... (chuckles) And you haven't done anything.

We bought materials-- brick, stone.

We've hired architects and engineers.

We bought the license and we paid the, uh... (speaking Greek) Bribes.

We need more money to continue.

I, I don't have any more money.

(stammers): I've told you, we have to get it finished-- we need tourists, guests.

♪ ♪ You find more money, Mr.

Lyttleton.

You made promises.

Now you must keep them.

All right, all right, yes.

I may have some funds coming my way.

We're... We're, we're partners.

We're friends-- you don't... You don't have to be so Greek.

♪ ♪ Just, just give me time.

♪ ♪ JEFFREY: Yes, this is Jeffrey Chalfont.

Can you hear me?

I can hear you.

What do you mean, it's broken?

It's brand-new!

No, listen to me!

The Ferguson TEP-20 is absolutely top of the range.

There isn't a tractor like it-- that's what you told me!

(yelling): You're the estate manager-- deal with it!

That's absolutely out of the question.

(piano begins) ♪ I'm flying Alitalia to Venice ♪ (Jeffrey continues) ♪ I'll let you know the moment that I land ♪ And you can tell him from me I'll be back at the estate in three weeks, and if it isn't up and running by then, there'll be all hell to pay.

LOLA: ♪ And I'm a gal who always loves... ♪ Jeepers creepers!

Lola!

♪ And everything in Italy is grand ♪ Are you going to make this racket all day?

It's not a racket, Jeffrey, it's a song.

A beautiful song, "Two Girls in a Gondola."

It will have the audience on their feet.

Stampeding for the exit.

Why do you have to be so horrible?

I've told you.

You can't go back to the theater.

Why not?

(yelling): Because I'm the seventh Earl Chalfont and you're my wife!

Anyway, what makes you think they'll give you the part?

They will when they know I am one of the backers.

(sighs) I am meeting with the producers the moment we are back to London.

Buying your way back in!

I had a career once, Jeffrey.

Before I met you.

Remember?

"Saint Joan"?

You came back to the door three nights in a row with flowers.

I got the wrong door!

(sighs) Costas.

Start over!

♪ ♪ ELMER: I have good news for you, Robert.

We've had an offer for the wine bowl.

Lucas Dorfman rang me this morning.

Ah.

The calyx krater.

And how much will he pay?

Well, you tell me.

Well, it's a beautiful piece.

It's sixth-century BCE?

So... (sighs) It's double-handed, perfect condition-- five, $500?

(groaning): Oh, God.

Five times that!

The calyx krater is a collaboration between the potter Euxitheos and the painter Euphronios.

You have any idea how rare that is?

It should be in a museum.

Maybe it was.

(in low voice): What do you mean by that?

Well, it came from Eric Verner.

Who bought it 30 years ago.

Robert, Eric is my partner.

I buy lots of things from him.

If you don't like my business, you don't have to stay in it.

Hey, I... (swallows) I did not, I didn't say that.

This catalogue you've... (sighs) ...written.

The Parthenon fragments.

I mean, you've given me dates, you've given me history, but there's no enthusiasm.

Hm?

(stammering) You make them sound like rubble!

ROBERT: Mm.

Isn't that what they are?

(chuckles) They come from a building that represents the heart of Western civilization.

To own one of these, Robert... (whispers): They're like diamonds.

Mm.

Do they really mean so little to you?

Mm... Pa, I... I work for you 'cause I got nothing else to do.

(chuckles) You work for me because there's nothing else you can do.

You have no talent as an artist.

You weren't suited to the law.

You should be grateful I've taken you on.

I am-- of course I am.

Well, you can show it by rewriting this.

(snapping) (talking faintly) (camera shutter clicks) ♪ ♪ (clock bells ringing) (insects buzzing) (typewriter clacking) (humming) (clock bells continue) (humming) (chiming hour) (whistling) ♪ ♪ (knock at door) Hello, Mama.

How are you feeling?

I'm feeling well, thank you.

Dear Jane.

Are you, uh, coming out for tea?

Yes.

Yes, I'd like that.

Let me give you an arm.

(exhales) (exhales) Ah, Mama.

Is Elmer coming?

I don't think so.

I haven't seen him since breakfast.

Oh.

(sighs) (magpie chattering) ♪ ♪ LAMBROSE: Oh, dear, oh, dear, we're going to be late.

We're just a few minutes away.

She said 4:00.

You should've told me the time.

I did try, Mr.

Lambrose, but you were on the telephone.

You should've interrupted me, Sofia.

Lady Chalfont is a very important client.

I know.

You have the will?

Of course.

Is Cedric joining us?

I doubt it.

In a world of his own, that boy.

Where's Lola?

Learning her lines.

Her new play.

Mm.

(exhales) It's very hot today.

♪ ♪ (sighs) ♪ ♪ (exhales) ♪ ♪ (gears shift, engine stops) Here we are!

Six minutes late.

We can blame the traffic.

(gasping) Ma?

(choking) Mother?

♪ ♪ Nai?

We have an appointment with Lady Chalfont.

Today?

4:00.

Lady Chalfont say nothing to me.

You know who I am.

Hector Lambrose.

I am here on a matter of some urgency, as requested by Lady Chalfont.

HARRY: Maria?!

Nai?

Maria!

Nai!

Oh, my God, Mr.

Lambrose.

Um, you, you've got to call the police.

And an ambulance, it's... It's Lady Chalfont.

She's dead.

(phone ringing) (ringing) ELAINE (on phone): Susan.

Elaine!

I know.

I shouldn't have rung you, and I'm probably the last person you want to hear from, but I really need to speak to you.

Can we meet?

♪ ♪ (brake engages, engine stops) CHARLES: Are you going to turn me in?

You realize they'll send me to prison-- I'll get life.

I won't come out.

Yes, Charles.

That's what happens when you commit murder.

I thought you might make some allowances.

As you yourself said, we, we've known each other for a long time.

It seems I didn't know you at all.

(recording of Bach prelude on piano playing) Hello, Susan.

Hi, Elaine.

Thank you for coming.

Come in.

You haven't changed the doorbell.

No, that's Charles playing his favorite Bach prelude.

You must hear it every day.

Many times.

I'm glad to see you, Susan.

CHARLES: I gave you a chance.

No.

You should've taken it!

No!

It's been a while.

How did you know I was back in the country?

Eliot told me.

Eliot Crace?

You're still in touch with him?

Oh, yes, we're quite close.

I met him when he was writing the Dr.

Gee books all those years ago, and we've been friends ever since.

He's the reason I had to see you.

Elaine... I know how difficult it must be for you being here, but let me say what I have to say.

(breathes deeply) Then you can go if you want to and never speak to me again.

I'll completely understand.

♪ ♪ I am so ashamed about what Charles did.

I make no excuse for him.

He killed Alan Conway, his number-one bestselling author, and when you found out about it, he tried to hurt you, too.

Hurt me?

(chuckles) He knocked me out and left me in a burning building.

I'd say he had rather more on his mind than that.

It makes me sick to think about it.

(sighs) But if it's any consolation, he also took everything from me.

My retirement, my reputation, my friends.

Everything that mattered.

We both suffered because of him.

During the trial, you never reached out to me.

I saw you every day and you never said a word.

I wasn't allowed to.

You know that.

The lawyers wouldn't let me come near.

And afterwards?

Afterwards, you went to Crete.

I would never ask you to forgive Charles for what he did.

Maybe you can forgive me.

I didn't blame you for anything, Elaine.

I didn't know he killed Alan.

He never told me.

Do you still see him?

Of course.

I'm still married to him.

I still love him.

I can't help it.

You were together a long time.

30 years.

You wanted to talk about Eliot Crace?

Eliot, yes.

I'm very worried about him.

Has he talked to you about Marble Hall?

It's where Miriam, his grandmother, lived.

Somewhere near Salisbury.

Devizes.

Charles used to go there quite often.

He worked on her last two books, and that's how he met Eliot.

Eliot was only about 12 years old at the time, but he already had his heart set on becoming a writer.

Charles helped him.

And his grandmother didn't?

His grandmother destroyed him.

Whatever you may have heard about her, Miriam Crace was a monster.

She was cruel.

She was vindictive.

She had the whole family under her thumb, and she ruined Eliot's life.

Charles never said anything.

He wasn't allowed to.

They made him sign an NDA.

Anyone who went anywhere near her had to do the same.

But Eliot told you?

Yes.

I'm worried about him.

You don't know how much this new book means to him.

He's thrilled you're gonna be his editor.

No, no, I, I haven't agreed to it yet.

Please say you will.

Eliot isn't himself right now.

He's fallen out with his brother, Roland, and the two of them were inseparable when they were young.

(breathes deeply) I think it's because of the book.

Please say you'll do it.

I just need to know that there's someone on his side.

PÜND: A murderer takes one life, but destroys so many more.

I have often wondered whether such a man could ever be deserving of our sympathy.

I don't care about Charles.

But Elaine and I, we're friends, and she's right.

None of this was her fault.

She still loves him.

Well, I think that does her credit.

Anyway, this isn't about Charles or Elaine.

It's Eliot that I want to help.

I feel like I owe him.

He failed last time, but I like what he's written so far.

And if I could just get to know him a bit better... Of course you can know him better, but will you like what you find?

♪ ♪ (owl hooting) (bell ringing) YOUNG JULIA: Eliot, come on, you're gonna be late.

YOUNG ELIOT: I'm trying!

I'm trying!

(door closes) YOUNG EDWARD: Eliot, get changed!

YOUNG ELIOT: I'm coming!

YOUNG EDWARD: You can't let Grandma see you like that.

YOUNG ELIOT: I'm coming, Father.

(owl hooting) (sipping) ♪ ♪ (wine pouring) More wine, Mother?

No!

I know when I've had enough.

I, uh, I spoke to the BBC today.

They want you to go on "Parkinson."

Mm?

What's "Parkinson"?

Michael Parkinson.

12 million people watch his show.

Well, I don't.

And you're not in charge yet, Jonathan.

(scoffs softly) MIRIAM: Where's your mother?

YOUNG EDWARD (stammering): I told you, she had business in, um, London.

Her business is to be here.

She's your wife.

She shouldn't be gallivanting around behind your back.

♪ ♪ Is she avoiding you?

Edward, I'm talking to you.

(sighs) No.

You're never together.

Never.

Are those new glasses, Julia?

Yes, Grandma.

They're even worse than the last ones.

(chuckles) They make you look like Clark Kent.

He was Superman.

Only when he took them off.

And don't answer back, Roland.

Stop staring, Eliot, and eat your dinner.

♪ ♪ YOUNG ROLAND, JULIA, AND ELIOT: Sator, arepo, tenet... Come on, let's go!

KIDS: ...opera, rotas.

Sator, arepo, tenet, opera, rotas.

We all know what has to be done to Grandma.

Mm-hmm.

And we will do it.

(thunder rumbling) But we must never, ever, tell.

♪ ♪ (thunder crashing) (gagging) (gasping) (groaning) (groaning) (button buzzes) (moans) (thunder rumbling) (click) ♪ ♪ ELIOT: Marble Hall was like a prison.

It was torture living there.

BRENDA: Miriam Crace's adopted son still lives here.

We will not allow you to damage her name.

I am conducting a murder investigation.

JUDITH: Why would anyone want to kill her?

We will find the answer.

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♪ ♪