(gasping) VASSILIKOS: Lady Chalfont was poisoned.

Can he describe who purchased it?

(bell rings) ♪ ♪ I would never ask you to forgive Charles.

Maybe you can forgive me.

SUSAN: You're pregnant?

But it's not his.

I don't want you in my life messing things up.

We should toast to someone who killed my grandma.

And when my book comes out, everyone will know who you are!

♪ ♪ ♪ ♪ (thunder claps) (whimpers) (click) ♪ ♪ ♪ ♪ (siren blaring in distance) (dog barking in distance) (moans softly) FREDERICK: You should think carefully, Susan.

(gasping softly) ELIOT: She was poisoned.

(moaning) JONATHAN: This is your fault!

(whimpering) ELIOT: You know who you are!

JONATHAN: The Tiny People are still out there, saving us bigguns from our own worst mistakes.

(glass breaks) (people giggling softly) (floor creaking) Hugo?

(purring in sleep) (people laughing) (floor creaking) ♪ ♪ (switch clicks) WOMAN: ♪ We're tiny ♪ ♪ That's why we're coming for you ♪ (footsteps approaching) Who's there?

(switch clicks) WOMAN: ♪ The Tiny People never sleep ♪ (song continues, hinge creaking) Whoever you are, I've already called the police.

They're on their way.

WOMAN: ♪ Eeny, meeny, miny, mo, Tiny People on the go ♪ (people snickering) (shoes squeaking) What do you want?

WOMAN: ♪ They are the Tiny People ♪ (grunting) (grunting) TOMMY: There she is!

(gasps) (all grunting) (panting, laughing) ♪ ♪ TOMMY: You've been jolly annoying, Susan!

JASMINE: Not very jolly.

JACK: But very annoying.

No, I'm not!

(laughing) TOMMY: What do you think you're doing?

Trying to spoil everything for us?

(Susan gasping) JASMINE: You need to M.Y.O.B.

JACK: Make your own bed.

JASMINE: No!

Mind your own business!

You're not here to talk to her.

Get on with it!

All right, Grandma, keep your hair on.

(both laughing) If you've remembered to bring it with you!

(all laughing) (crying) (inhales) Sorry about this, Susan.

(smacks lips) (panting) WOMAN: ♪ We're tiny ♪ ♪ That's why we're coming for you ♪ (gasping): No, no, wait!

(yelps, doorbell buzzing) (doorbell buzzing) ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (doorbell buzzing) Sir?

She's in.

I'll call you back.

(sighs) Susan Ryeland?

Yes.

I'm Detective Inspector Blakeney.

This is Detective Constable Wardlaw.

I wonder if we might come in.

What's this about?

Be better if we talk inside, if you don't mind.

Okay.

Uh, you didn't show me your I.D.

I'm with him.

Even so.

(sighs) Thank you.

Help yourself to a seat.

Would you like some coffee?

(door closes) BLAKENEY: Milk, please.

One sugar.

Same.

Aye.

You'll have to forgive my appearance, um... Mm.

I overslept.

Out late?

Not particularly.

Nice place you got here.

Been here long?

Uh, few weeks-- look, maybe you should tell me why you're here.

Yeah.

I'm afraid it's bad news.

You're a friend of Eliot Crace?

We're working together.

So not friends.

What's happened to him?

WARDLAW: He was struck by a car in Maynard Street just as he was leaving a party at which you'd been present.

Is he dead?

He's in hospital.

But I'm afraid it's very serious.

What does that mean?

He's in a coma.

On life support.

It's unclear if he'll pull through.

Oh, my God!

I don't know what to say.

Have you, have you told his, his family?

Does Gillian know?

His wife's with him now.

God, it must be awful for her.

And this happened last night-- have you found the driver?

It was a hit-and-run.

Drunk driver?

We don't think so.

The accident, if it was an accident, took place ten meters from the entrance to the building where the party took place.

WARDLAW: An empty street.

No other traffic.

So, not an accident.

Are you saying it was deliberate?

Eliot set out to upset everyone in the room.

From what I understand, he made a speech, a drunken speech, where he made some quite outlandish accusations.

Outlandish, yeah, good word.

That's not the point.

Eliot believed that his grandmother, Miriam Crace, was poisoned 20 years ago.

He said he'd seen the killer, and that person, whoever they were, were in the room.

And he also said that he'd named them in the book that he was writing.

Yeah.

Did anyone believe him?

Well, it looks like someone did.

Hm.

You say he's in a coma-- is he gonna wake up?

Well, it's impossible to say.

Tell me about the book he was writing.

You were helping him?

Yeah.

It's a continuation novel.

Have you heard of a character called Atticus Pünd?

Oh, yeah-- I've read all the Alan Conway novels.

Oh, really?

Yeah.

I, I enjoyed them.

Till Alan Conway got killed.

Alan was pushed off the roof of his Suffolk home by his then-editor, Charles Clover, who's now in jail.

It's funny how you and murder seem to go hand in hand.

Actually, I don't think it's very funny at all.

And anyway, Eliot's still alive.

For now.

BLAKENEY: You believe that someone tried to kill Eliot to prevent him from revealing a secret concealed in the book he was writing with you?

Well, I, I didn't write any of the book, but yes.

As unlikely as that sounds, that's exactly what I believe, and that's why I tried to warn him not to go on "Front Row."

Hm.

We've listened to that broadcast, as well.

(water bubbling) You have been busy.

Well... We didn't sleep in.

(kettle switch clicks, bubbling stops) How did you get to the party last night, Miss Ryeland?

You asking if I drove?

You do realize that I was probably the only person in that room who didn't want to kill Eliot.

WARDLAW: That's not what we've heard.

He fired you.

He publicly humiliated you.

That is ridiculous-- what, what are you saying?

That I waited outside for him and then ran him over?

It'll be easier to come to a conclusion if you just answer the question.

Did I drive?

No.

I took the Tube.

From Highgate Station?

To Goodge Street.

I was drinking-- I wasn't gonna drive.

Or commit murder.

That's your MG outside?

You asking me or telling me?

We know it's yours.

Yes.

Mind if we take a look?

Course not.

Oh, you want to go now?

Please.

Fine.

(objects rattling) Uh... Ah, keys are not here.

Um... Keys, keys, keys-- sorry.

How about in your coat?

Oh, yeah.

(clears throat) Oh, yeah, you were right.

Were you wearing that coat last night?

Yes.

So if you took the Tube, how come the keys are in your pocket?

Well, obviously, I left them in the pocket the last time I drove my car.

Which was yesterday morning.

I, I just didn't realize that's where I'd left them.

Shall we look at the car?

Yep.

After you.

Thank you.

SUSAN: This is pointless.

WARDLAW: There are procedures.

Yeah, there's also half a million cameras across London that will show you that this car didn't go anywhere last night.

940,000.

What?

Cameras.

Sir.

What is it?

WARDLAW: There's damage to the radiator grille.

And this.

Oh!

♪ ♪ Oh!

♪ ♪ How do you explain this, Miss Ryeland?

I don't even know what this is.

Small piece of fabric.

It looks very similar to the jacket that Eliot was wearing last night.

And that might be blood.

Yeah, it might be strawberry jam.

I got no idea how it got there.

And this damage, it... The car wasn't damaged the last time I drove it.

Yesterday morning?

Yes.

If this car was involved in an accident last night, then somebody else must have used it.

You mean, they stole it and brought it back again?

It's possible.

But unlikely.

If you had the keys.

Yeah, I know, Detective Inspector.

Look, please-- are you gonna arrest me?

No, but I am impounding this vehicle... (gasps) ...under the Road Traffic Act of 1988, Regulation 2005.

(exhales) We'll need both sets of keys.

Planning any foreign travel in the next couple of days?

Are you asking me to surrender my passport?

Do I have to?

No, I'm not going anywhere.

♪ ♪ Unlike the car.

♪ ♪ What am I meant to do now?

You are upset.

Well, yes!

Being accused of attempted murder's one thing, but I rather like my car!

I would suggest that in order to protect yourself, you need to move quickly.

I know.

I came to the same conclusion.

But in what direction?

Why do you think an attempt has been made on the life of Eliot Crace?

To stop the book being written.

The book itself?

Or the secret concealed within the book?

That's a very good question.

Which I know you won't answer.

Am I in as much trouble as I think I am?

I will say only this.

The fly that is caught by the spider must examine every strand of the web.

And you must do the same.

CARTER: Excuse me, Mr.

Pünd?

I'm sorry to interrupt you, but I wondered if I might have a word.

On what subject?

Well, we haven't met, but I know who you are.

And you could say we're in the same business.

I'm a private investigator, and I have an interest in a man called Elmer Waysmith.

♪ ♪ I was about to have my morning tea.

Why don't you join me?

(people talking in background) (birds chirping, waiter speaks softly) Thank you.

My name is Harrison Carter.

And I say I'm an investigator, but I'm actually an academic.

A professor.

Before the war, I was a lecturer in classical archaeology at Stanford University in California.

But in 1945, I joined an organization known as the MFAA.

Ah-- Monuments, Fine Art, and Archives.

We were called the Monuments Men.

Our job was to track down art stolen by the Nazis in France, Belgium, Holland, and Germany.

But my own interests led me to what happened in Greece after the occupation.

May I go on?

Oh, please.

The Nazis stole thousands of Greek antiquities.

Statues, vases, ceramics.

Mm.

Anything they could get their hands on.

They thought they'd find proof of their superiority as the Aryan race in the Hellenic past.

That was one reason.

The other was much simpler.

The value.

Exactly.

There was a huge market in antiquities across the world, and both Hitler and Göring were collectors.

The Greeks knew what was coming.

As soon as the Germans invaded, they hid their most prized objects in caves and crypts and secret places.

But that didn't stop the Nazis.

They searched high and low.

And they didn't take no for an answer.

I learned of a murder that happened at the Vathy Museum on the island of Ithaca.

(gun fires) And the theft of a very rare two-handed wine bowl known as a calyx krater.

I spent two years searching for it across Europe.

Before I got a tip-off.

You traced it to the Villa Belmar.

It had been seen by the housekeeper, Maria, who had actually worked at the museum when she was younger.

She contacted my organization.

And what did you do?

Well, we're lucky the Nazis documented everything they did.

So I was able to follow it from the museum in Ithaca to Austria, and from there to a small gallery in Geneva, run by a Swiss collector called Erich Werner.

(chuckling): And Erich Werner is in business with Elmer Waysmith.

He told you that?

His son did.

When it comes to stealing art and artifacts during and after the war, the Swiss were the worst culprits.

But the English, the French... Well, even the Americans, they were all at it.

And did you confront Mr.

Waysmith?

I spoke with his son.

He invited me to meet with his father at the house.

And there it was.

♪ ♪ The stolen piece, just sitting right in front of me.

I would assume that they denied any impropriety.

Not just denied.

Waysmith, Sr., was furious.

ELMER: How dare you, sir?

How dare you come into my home... You invited me.

...and make these foul accusations with no evidence whatsoever?!

Mr.

Waysmith, I have eyewitness testimony that the piece in front of me right now was stolen from the Vathy Museum in Ithaca, and that the director was murdered trying to protect it!

That's a lie!

Mr.

Carter, the calyx krater came to us from a respected dealer in Geneva.

Erich Werner is not respected.

He's a well-known crook.

He's my partner.

Then I'm afraid that makes you a crook, too.

(softly): Get out of my house.

(bellows): Get out!

When did this discussion take place?

Two weeks ago.

Huh.

Shortly before Lady Chalfont met me in the Old Town.

LADY CHALFONT: A week ago, while I was sitting in my bedroom at the villa, I overheard something that shocked me to the core.

Hm.

Mr.

Carter, let me ask you a question.

Hm.

You met in the room where the calyx krater was displayed.

Can you recall, were the windows open or closed?

♪ ♪ PÜND: It was a warm day, so the windows were open.

And they were directly beneath the bedroom of Lady Chalfont.

She would have heard every word.

PÜND: She told me that she'd overheard a conversation that shocked her.

Her husband accused of being a thief.

And maybe even a war criminal.

Exactly.

And immediately afterwards, she calls her solicitor.

Mm.

Almost certainly to change her will.

It seems incontestable.

♪ ♪ (engine stops) Mr.

Lambrose believed that he had a meeting with Lady Chalfont at 4:00.

This was on the very day that she died, and yet, he was not expected.

Yes, you're right.

She was having tea in the garden with her son and Harry Lyttleton.

It is strange, is it not?

Maybe she had forgotten.

Forgotten her lawyer?

A meeting that's so important?

I do not think... (device beeping faintly) (panting softly) What is it?

(device beeping) I'm not sure.

(EKG beeping, respirator hissing) (sniffs) (beeping fades) (door opens) (Maria speaking Greek) VASSILIKOS: MARIA: VASSILIKOS: MARIA: Yes?

Hello, um... Are you Edward Crace, Eliot's father?

Yes.

Yes, I saw you at the party, and, um, I just heard the news today.

I'm Susan Ryeland, I'm working with Eliot.

(stammers): Yes, I, I know who you are.

I came to see Gillian.

Do you think I could come in?

(sighs): Uh, yeah.

Thank you.

Eliot's still unconscious.

He's, um... He's got brain trauma, um... Uh, broken ribs, injuries to the, uh, spinal cord.

Uh, the next, uh, 24 hours could go either way.

I'm so sorry.

Eliot and I have, have never had a close relationship.

I, I imagine he's, he's talked to you about me.

Not, not really, no, uh... What did he mean when he said at the party my mother was killed?

It's what he believes.

It's not true.

Do you believe him?

I don't know.

Eliot was a wild child.

(chuckles) A difficult teenager.

(breathes deeply) He wasted his 20s, and his 30s aren't going much better.

Oh, I... (sighs) I imagine I don't need to tell you any of this.

I, I heard what he said about you.

But he, he would pick a fight with his own shadow if it would answer back.

When Eliot went on the radio, he said he saw somebody go into his grandmother's room the night she died.

Did he ever talk to you about that?

Eliot hardly talked to me at all.

His mother couldn't cope with Marble Hall, so she stayed away as much as she could.

So Eliot ended up blaming me for all his problems.

If you want to know what was going on in his head, you should talk to Charles Clover.

Charles?

He, he worked on the last two books, "Tiny Angels" and "Tiny World."

He was more of a father to Eliot than I ever was, and I imagine if Eliot had anything on his mind, that's where he'd go.

(lock turns, house door opens) (footsteps approaching, door closes) What are you doing here?

Oh!

She's, uh, come to see Gillian.

Well, she's not here.

I know.

I wanted to ask her for Eliot's notes.

The novel he's writing, any work in progress.

Well, why?

The novel's not happening-- you were fired.

Well, it isn't just about the novel, Roland.

Whoever tried to kill Eliot may have done it because of what he knew, what he'd hidden inside it.

Eliot was knocked down by a hit-and-run driver.

The police are out looking for them now.

I think, I think maybe you should go.

Eliot could still be in danger!

If anyone is a danger to Eliot, it is you.

I really wish I'd never spoken to you in the first place.

Please, can you just leave?

SUSAN: I thought we were on the same side.

What's changed?

Eliot's been hurt, that's what.

♪ ♪ It's you, isn't it?

What?

You let yourself in without even ringing the bell.

This is Eliot's house.

But you've got a key.

So what?

The first time we met, you knew that I'd seen Gillian.

That's because she told you.

No wonder she didn't want to say who the father was.

The father of her child.

It's you.

♪ ♪ That's why you and Eliot had fallen out.

Nothing to do with the estate.

I really think you should just leave.

I've got nothing to say to you.

You were his hero.

You were everything to him.

Get out!

♪ ♪ What happened?

Nothing.

Nothing happened.

Harrison Carter came here... God knows why Robert invited him, but he was here and then he left.

I told him it was my partner in Geneva that bought the calyx krater, not me.

It had nothing to do with me.

Even so, Mr.

Waysmith, if your late wife had overheard the conversation... She would have asked me about it.

Ah.

And she never did.

Not a word.

Are you saying that I killed her before she had a chance to change her will?

That's absurd.

I have more than enough money of my own, and in case it hadn't occurred to you, I loved her very much.

As much as you loved your first wife, who took her own life?

♪ ♪ (whispering): I'm not gonna take any more of this.

You're despicable.

Both of you.

If you want to talk to me again, you can do so through my lawyer.

♪ ♪ I do not trust that man, or his son.

I agree.

Mm, and yet... What?

Well, they are perhaps the only two members of this family who did not have an urgent need of Lady Chalfont's fortune.

(grunts) So what now?

Now?

We should remain very still.

♪ ♪ What is it?

Either you or I, or both of us, are about to be shot.

♪ ♪ (pistol clicking) CEDRIC: Bang!

Bang!

You're both dead.

(blows out) I think you missed.

And you should be careful, young man, huh?

Killing a police officer is a very serious offense.

Yes.

Am I a suspect?

Most certainly.

Maybe it was me.

I didn't like Grandma because she made me come here every summer, and I know lots about poison.

How is that?

There's loads of it in the garden.

Would you like me to show you?

Hm?

Lead on.

♪ ♪ PÜND: Hm.

CEDRIC: That's deadly nightshade.

Atropa belladonna is the Latin name.

That's hemlock.

It's more dangerous in the spring than the summer.

Who told you that?

Luan-- he's the gardener.

Luan is an Albanian name.

Ah.

And this is monkshood.

Part of the genus Aconitum.

Producing the poison aconitine.

That's what killed Grandma.

PÜND: Oh.

(chuckles) You, you have perhaps been listening to adult conversations, Cedric.

Nobody notices me.

I could help you, if you like.

You already have.

(cylinder clicks) I'd like to be a detective when I grow up.

Or a murderer.

They both sound fun.

(chuckles) Hm.

I would recommend the former.

And perhaps it would be better not to mention that we talked.

(whispering): All right.

Good boy.

(exhales) ♪ ♪ (panting softly) The aconitine.

If it was growing here in the garden, why was there any need to purchase it from the market in Kassiopi?

Exactly.

(speaking Greek) ♪ ♪ There has been a development.

Sofia Androulakis, the assistant to the lawyer, Mr.

Lambrose.

What of her?

She has gone missing.

(recording of Bach prelude on piano playing) (recording continues) (recording stops) Susan.

Hi, Elaine.

Um, can I come in?

Of course.

Thanks.

Yeah.

Have you had any news about Eliot?

I spoke to Gillian this morning.

There's no change.

Oh.

What do you think happened?

The police are saying they think it may not have been an accident.

I don't know.

But that's what I'm trying to find out, but I need your help.

Tell me.

(sighs) I think somebody tried to kill Eliot because of what he'd written in the book.

Well, what he's hidden in the book.

Like Alan Conway?

Come on, Susan.

You were at the party-- you heard what he said.

Eliot always believed that Miriam was murdered.

He identified the killer, he threatened them, and five minutes later, he was run down.

To stop him writing his book?

I know, I know it sounds insane, but listen, I've just come from Eliot's house, and I met Edward Crace.

It must be awful for him-- I saw him at the party.

Right, he talked about Charles and Eliot, and how close they were.

And it suddenly occurred to me... Uh, look, I, I... (exhales) I know this is a lot to ask, but if anyone knows what happened at Marble Hall-- what Eliot thinks happened at Marble Hall-- it's Charles.

Well, he was there.

Exactly, he worked on Miriam's books.

He knew Eliot when Eliot was 12.

He encouraged his writing, and later on, he even published him.

You didn't approve.

Uh, I was sorry the books didn't work, but I understand why Charles published them.

Do you want me to talk to him?

No.

I want to see him myself.

(inhales) I don't know, Susan.

Can you ask him?

I know, I know, he... He's got absolutely no reason to want to see me, and I completely get that.

But this isn't about me.

It's about Eliot.

Somebody tried to kill him.

Now, they may have failed the first time, but there's always the chance that they'll try again.

I can ask him.

But I'm telling you now, I don't think he'll agree.

It's not just you.

It's the humiliation.

You seeing him in prison.

If you ask him... ...you can tell him how bad I feel about what happened.

And maybe... ...by seeing each other for one last time... ...maybe, in a funny way, it might be good for us both.

Well, I suppose he owes you.

It's for Eliot.

I'll talk to him.

But don't hold your breath.

Thank you.

♪ ♪ LAMBROSE: I can't tell you how very concerned I am, Police Lieutenant.

It was you who reported her missing?

You must understand, Miss Androulakis is 100% reliable.

When she failed to appear for work this morning, I was more than puzzled, I was alarmed.

And when I had heard nothing from her, I took it upon myself to call her mother at the Poseidon Hotel.

She lives with her parents?

Yes.

Her mother informed me that she did not return home after she left work yesterday, and nobody has seen her since then.

Ah.

Given what has happened at the Villa Belmar, I thought it only right to contact the police.

You believe her disappearance may be connected to the death of Lady Margaret Chalfont?

Can there be any doubt?

Had she discussed it with you?

Of course we discussed it!

We arrived at the house together minutes after the death had occurred.

Miss Androulakis was understandably upset, although... Please?

Well, I was a little surprised.

Lady Chalfont is a client, of course, but we did not know each other well.

Which is to say, we had no personal connection.

But from the moment the police investigation was announced, Miss Androulakis seemed to me to be nervous, unhappy.

Once or twice, I'm sure she was close to tears.

She had presumably seen the will.

She was responsible for typing it.

♪ ♪ It is as I would've thought.

There is one more question I must ask you, Mr.

Lambrose.

Her fiancé.

You never asked Miss Androulakis his name?

No.

You, you may think me old-fashioned, but it seemed inappropriate to make inquiries on such a personal matter.

The first time I heard it was when I was with you.

I asked her, she told me, but I do not think she was telling the truth.

What makes you say that?

Because she was taken by surprise, huh?

You may recall what occurred.

(inhales) LAMBROSE: Miss Androulakis is engaged to be married.

Who is the lucky man?

Oh, um... His name is Antonis-- he works in a hotel.

PÜND: There was a newspaper on the table with a, a picture of the British prime minister, Anthony Eden.

Anthony, Antonis.

It was the first name that came to her.

And the hotel?

It's where she lives.

Of course.

LAMBROSE: What are you telling me?

Are you saying there is no fiancé?

(car approaching) (people talking in background) (birds calling) PÜND: Mr.

and Mrs.

Androulakis, is there a fiancé?

Of course there's no fiancé!

You think she wouldn't have told me if there was?

Then why would she lie to us?

My Sofia isn't a liar-- don't you dare call her that.

Mm.

Is it not possible that your daughter believed herself to be engaged, but had been asked to remain silent for a reason known only to the man who called himself her fiancé?

But why would he do that?

(sighs) You did not know that she was intending to leave her place of employment?

No!

Well, that much is certain, Mrs.

Androulakis.

She said as much herself.

What's been going on here?

What has she done?

(Androulakis speaking Greek) (Valerie speaking Greek) Hm.

She's an innocent, Mr.

Pünd.

That's the truth of the matter.

Growing up on an island like this, she hasn't many ideas of the ways of the world, and... Yes, I suppose it's possible that she might've been manipulated.

That is what I most fear.

(voice breaking): Tell me that you'll find her.

Tell me she's safe.

♪ ♪ (people talking in background) I'll have every police officer on the island searching for her, and I can have reinforcements sent from the mainland.

I hope we are not too late.

♪ ♪ (man speaking Greek) ♪ ♪ (man speaking Greek) (knocking) (speaking Greek) (speaking Greek) (both speaking Greek) ♪ ♪ (men calling in Greek) ♪ ♪ (knocking) (all speaking Greek) (speaking Greek) (man responds in Greek) (speaking Greek) ♪ ♪ (phone ringing) Ooh!

That's much better.

(door closes upstairs) (phone ringing) Susan-- what are you doing here?

I've come to see you, Matthew.

I'm afraid you've chosen a bad time.

Well, it's a worse time for Eliot, and I thought that maybe we should talk about that.

(sighs) I can give you ten minutes.

(card reader beeps, door unlocks) ♪ ♪ (people talking in background) I'm gutted about Eliot, but before you begin, I think you ought to know that I had the police round here this morning.

They were asking questions.

Well, that's what they do.

About you.

Ah.

They wanted to know about your relationship with Eliot.

Well, that's a coincidence, because that's why I'm here, too.

What was your relationship with Eliot, Matthew?

I don't even know why you're asking that.

Because you were at the party last night, which means you had an invitation from Jonathan Crace, which makes no sense, because, quite apart from the fact that you never told me you knew him, the last thing he would want was for Eliot to write his book.

He invited you.

Reluctantly-- look, why don't you just get this over with and tell me the truth?

All right.

Earlier this year, Causton Books won an auction.

There's going to be a brand-new adventure with the Tiny People.

Another continuation novel?

Who's writing it this time?

Michael Morpurgo, but that's confidential.

Well, he's an excellent choice.

But let me guess, you'd already hired Eliot to do the new Atticus Pünd.

Yes.

It was an unfortunate coincidence.

We wanted the name.

But you chose the wrong Crace.

Jonathan Crace was furious when he found out.

He already knew Eliot was a liability, and you're right.

He didn't want us to have anything to do with Eliot.

Of course, we offered to let Eliot go, to drop the Atticus Pünd.

Oh, how loyal.

But then I heard that you were back in the country and might be available.

So, that's why you reached out to me.

You wanted both books, but you had to persuade Jonathan that you could keep Eliot under control.

(sighs) You didn't want an editor, you wanted a babysitter!

Which you signally failed to be.

So what now?

I'm afraid it's very unlikely that we'll continue with "Pünd's Last Case."

"Unlikely," yes, yes.

Because, of course, the Tiny People are so much bigger than Atticus Pünd.

We have to be realistic.

A new Tiny People will sell millions.

And it won't just be one new adventure, it could be half a dozen.

Eliot isn't even dead yet.

But the book is.

I'm sorry.

(scoffs) (door closes) (sighs) (both speaking Greek) (conversation continues) ♪ ♪ This is my fault.

No.

Everything you said, it was right in front of me.

From the moment we met her, she was nervous, afraid.

She lied about her fiancé.

And I should have guessed that she was implicated.

Did anyone see anything?

There was one witness, uh, an old man who was out having his coffee near the Hotel Poseidon at 6:00 yesterday evening.

And he says he saw her getting into a car.

A red car, possibly a Morris Minor.

He did not see the driver?

No.

Do not blame yourself, my friend.

(chuckling): Murder is not a game.

There's no rules.

We do only what we can.

And there are times, sometimes, when that's not enough.

♪ ♪ VASSILIKOS (speaking Greek): OFFICER: VASSILIKOS: OFFICER: VASSILIKOS: OFFICER: VASSILIKOS: Nothing has been touched.

(men talking in background) (Vassilikos breathing deeply) This is a young woman who meant no harm to anyone.

I believe she was tricked into doing something she did not understand, disposed of when she was no longer of any use.

♪ ♪ I do not often come across an act of such evil, made worse, even, by... (scoffs) ...the beauty of the place in which it has been committed.

♪ ♪ This will be my last case, there can be no doubt of that.

But I will find the person who did this, Achilles.

Oh, you will find them.

I will help you.

You will permit me?

Mm, of course.

♪ ♪ (conversation continues in background) Harry Lyttleton.

♪ ♪ (exhales) Look, I, I'm afraid I can't help you, Police Lieutenant.

Sofia Andrew... (scoffs) Whatever her name is, I hardly know the girl.

(sighs) I saw her when I had meetings with Lambrose.

He's been helping me with the hotel, but I barely noticed her.

Have the police found her yet?

They have.

And it is with regret that I have to tell you she has been killed.

(gasps) No!

LOLA: That's impossible.

Nothing like that ever happens in Corfu.

That was true until now, Lady Chalfont.

But there have been two murders, and both of them are connected to this family.

That's an outrageous thing to say.

You still have no evidence that my mother was murdered.

The aconitine in her tea.

I've been thinking about that.

She was ill, she was dying.

Who's to say she didn't put it in there herself?

You believe that?

Maybe she'd had enough.

Oh, Miss Androulakis was most certainly murdered.

(exhales) She was strangled and left on a beach.

Huh?

And there is something we found that needs to be explained.

Mm.

♪ ♪ Well... Well, that's me, I... We know who it is, Mr.

Lyttleton.

What we don't know is why Sofia Androulakis should be carrying it in her pocket.

Well, I've no idea.

What are you suggesting?

Miss Androulakis, she told us that she was involved with a man to whom she was engaged.

She lied, however, about his name.

And you think it was me?

It may have escaped your attention, but I'm married.

Happily married.

(softly): Hm.

PÜND: May I ask you, Mr.

Lyttleton, what car do you drive?

What, in Corfu?

(softly): Yeah.

I have a Morris Minor.

A red Morris Minor?

Yes.

VASSILIKOS: Mr.

Lyttleton, can you tell us where you were at 6:00 yesterday evening?

Whoa, hold on a minute, Police Lieutenant.

You can't possibly suspect Harry.

Anyway, he was here at half past five.

I, I saw him.

And then?

He drove me to the Palace of St.

Michael and St.

George in the Old Town-- I was giving a talk.

Yes, we're raising money for Peru.

Did you stay for the talk?

Oh, good God, no!

I... It's fascinating stuff, but I've heard it all before.

Huh.

Look, I dropped Judith off and then came back here.

Did anyone in this house see you?

LOLA: I heard his car.

I am sure it was Harry.

Did you see him?

Oh, uh, I heard him.

Huh.

You will forgive me, Dr.

Lyttleton, but you seem not just unsurprised, but unconcerned that the young woman was carrying a photo of your husband on her person.

Why should I be concerned?

♪ ♪ Harry is a very handsome man.

If the poor girl had a crush on him and fantasized about marrying him, that's none of my concern.

Huh.

(device beeping faintly) Herr Pünd.

(gasping softly) We should leave.

(EKG beeping, respirator hissing) (alarms sounding) What is it?

What's happening?

(door opens) NURSE: He's in VF.

Get the adult resuscitation team and the trolley now.

Crash call, room 201, please.

(alarms continue) Where are you going?

What's wrong?

It is the very worst.

29, 30-- two breaths.

(alarms continue) Analyzing.

He's in V-fib.

(defibrillator charging) Charging.

Stand back.

(alarms continue) (audio distorts) Shock delivered.

(alarms continue) NURSE: 28, 29... Two breaths.

DOCTOR: Charging, stand back.

(alarms continue) ♪ ♪ Shock delivered.

(alarms continue) Continuing CPR.

(defibrillator charging) Stand back.

(alarms continue, increase speed) (steady flatline alarm beeping) (flatline alarm continues, Pünd panting) (alarm fades, normal audio resumes) What's happened?

Where are we?

(gasps) (exhales) He's died.

Who has?

The author.

And this, this is all that remains.

A blank page.

(click) ♪ ♪ Why was Eliot killed?

Hm?

The police are treating it as murder.

He was killed because of what he knew.

Leilah!

SUSAN: Someone is trying to incriminate me.

They wanted to stop Eliot's book being published.

ELAINE: He's agreed to see you.

CHARLES: Give me one good reason why I should help you, Susan.

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♪ ♪