♪ ♪ ELIOT: We should toast to one who killed my grandma.

♪ ♪ SUSAN: I was probably the only person in that room who didn't want to kill Eliot.

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

In order to protect yourself, you need to move quickly.

You should talk to Charles Clover.

He was more of a father to Eliot.

SUSAN: He knocked me out and left me in a burning building.

Do you want me to talk to him?

I want to see him myself.

♪ ♪ ♪ ♪ (thunder claps) (whimpers) (click) ♪ ♪ ♪ ♪ (men shouting, doors slamming) (keys jangling) (men shouting, bars rattling) (talking indistinctly) (buttons punching) ♪ ♪ (phone ringing out) (call connects) It's me.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ MAN: You know, I've been saying that from the start.

JONATHAN: Thank you all for coming.

I want to start by saying how shocked and mortified I am by Eliot's death.

(sighs): Are you?

I understand how you must be feeling, Edward.

Jonathan, you know nothing about my feelings.

You threw him out of the party.

That was the last thing you ever did for him.

I had no choice.

Eliot was troubled.

You mean he was trouble-- that's why you did it.

He was a threat to you.

It's always business first, isn't it?

It's like we never left Marble Hall.

ROLAND: Yeah, well, Uncle Jonathan's not responsible for that, though, is he?

Oh, you're taking his side against me.

Really?

Well, you're part of it, too, Roland-- you and Gillian.

I mean, how could you do that?!

I didn't mean for it to happen, Pa!

You let it happen.

Julia... It's got nothing to do with this.

Why was Eliot killed?

Hm?

The police are treating it as murder.

He was killed because of what he knew.

He knew nothing-- he was drunk.

He'd put it in that book of his.

That's why he was killed, to silence him.

Stay out of this, Leilah.

You don't know what you're talking about.

She's talking about Miriam's death-- Eliot knew!

We all knew!

We... lied.

Not her death, her murder.

Leilah!

Dr.

Lambert knew-- you knew.

And you covered it up.

Dr.

Lambert had his suspicions.

Nothing was ever proved.

Why do we always end up talking about Grandma?

I did what I had to do.

A sordid police investigation would have destroyed us, destroyed the legacy.

When are you all gonna get it into your head how much we all owe to the Tiny People?

Your house in Notting Hill.

Your flat in Mayfair.

Your job with me.

You still get quarter of a million pounds a year, every year.

I never take it.

I don't want it.

What do you do with it?

I give it to charity.

JONATHAN: Well, then, you get the good feelings that come with doing exactly that.

(exhales) Just having the name Crace makes us special.

(Edward scoffs) It's our life.

It's not my life.

FREDERICK: I agree with Jonathan.

We, uh, owe it to the world to keep her legacy alive.

I'm the only one who still lives at Marble Hall, and I see the crowds who come and visit.

(breathes deeply) They love Miriam Crace and they love the Tiny People.

Raking up the past, it doesn't do anyone any good.

She was ill.

She was dying anyway.

Yeah, mitral stenosis.

What it says on the death certificate.

But what if Eliot was right?

What if she was poisoned and the killer was right there in the room?

There were a hundred people in that room.

He could've been talking about anyone.

But what if he meant one of us?

He knew nothing!

He was drunk!

(sighs) Let me ask all of you a question, and perhaps you'll think very carefully before you answer.

A $200 million deal with Netflix or the death of a sick, elderly woman 20 years ago.

Which of those two things matters more?

(doorbell rings) Detective Inspector Blakeney.

Ms.

Ryeland.

Well, now we've reminded each other who we both are, I suppose you want to come in.

You've got ten minutes.

I'm on my way out.

We've got a lot to talk about, and I'm afraid none of it is good news.

Not good for you, anyway, Ms.

Ryeland.

Mm, let me guess.

That small piece of cloth you took out of the radiator grille of my car.

You've had it analyzed.

We have.

And it's been positively identified as coming from the jacket that Eliot Crace was wearing when he was struck down.

WARDLAW: We also found bloodstains on your car and on the fabric, which provided a 100% match.

No surprises there, then.

You knew?

No, Detective Constable, I assumed.

Because if it turned out that I'd just run over a pigeon, you'd have brought back my car!

Perhaps you should be taking this a bit more seriously, Ms.

Ryeland.

Oh, I'm taking it very seriously.

But what you're saying is impossible.

For heaven's sake!

Weren't your 940,000 cameras enough to prove what I've been telling you all along?

I did not drive to the party.

I took the Tube.

It will take a while longer for that data to come through.

What about the cameras at Highgate Station?

There must be a shot of me on the platform.

I'm afraid they were out of order.

Just my luck.

(sighs) At the same time, I have to tell you that we have new evidence.

WARDLAW: A witness has come forward with a sighting of a red MG speeding away from Russell Square... (gasps, sighs) ...just round the corner from Maynard Street.

This happened a minute after Eliot was hit.

The caller was only able to get two digits of the registration number, but they're the same as yours.

Did the caller leave their name?

They did not.

So they were anonymous.

Yes, but that's not unusual.

Were they male or female?

I'm sorry, I can't give you that information.

Well, they're lying to you.

Or they're mistaken-- look, I'll say it one more time.

The car was parked outside my house all night.

It would still be there now if you hadn't taken it away.

So how do you explain the damage to your grille and your fender?

Yes, I've been thinking about that, and the answer's obvious.

Someone is trying to incriminate me.

Frame you?

Frame me, incriminate me, set me up-- there's lots of ways of saying it, but it's still the only explanation.

(Blakeney sighs) So, so, someone waited for Eliot outside the party, ran him over, snipped a piece of cloth off his jacket, came to Crouch End, kicked in your grille, and planted the evidence.

Is that what you're saying?

Who do you think would want to do that to you?

Anyone who worked for the Crace estate.

(Wardlaw scoffs) They wanted to stop Eliot's book being published.

Because it reveals a murder that took place 20 years ago?

Conceals it, not reveals it.

But yes, he said it at the party and he said it on "Front Row," and that's why someone killed him.

What about the fact that he just humiliated you in front of a hundred guests?

Oh, that's absurd.

BLAKENEY: You also had an altercation with him at his club.

Boon's, in Notting Hill Gate?

I was trying to help him.

That's all I've ever tried to... Listen to me.

You told me that you'd read all of Alan Conway's books.

Yes?

SUSAN: Did you ever solve them?

About half of them.

Right, well, that is how you'll solve this.

Read Eliot's book.

Get a copy from his publishers.

Most of the characters were based on his family.

So he might've been trying to tell us something.

And then there's the anagrams.

The Villa Belmar, Marble Hall, that sort of thing.

Just like Alan Conway, he loved to play with words.

Look at his computer, his notes.

Eliot was killed because of what he wrote.

So that's where you'll find the answer.

♪ ♪ And what will you do in the meantime, Ms.

Ryeland?

Sir!

Oh, I'm gonna do the same.

I've been here before.

I know exactly what I'm looking for.

You find anything, you call me on this number.

Or if you decide to change your story.

Good stories never change.

♪ ♪ Sir... BLAKENEY: Not here.

WARDLAW: She clearly did it.

BLAKENEY: Say it in the car.

♪ ♪ (people talking in background) (traffic passing) WAITER: Here we are.

(music playing softly in background) Hi.

Hi.

(slurping) SUSAN: Hi!

Susan!

I am so glad you came.

Oh, sorry I'm late.

(chuckles) It's all right.

Will you have something to drink?

Yes, I'll have a sparkling water, please-- thank you.

I'll have another.

No problem.

I didn't know if you'd come or not.

Hm.

I'm glad you did.

I want to help you.

Help me how, Leilah?

I want to tell you everything that you need to know about Jonathan and Marble Hall.

Right.

Well, how did the two of you meet?

(chuckles) It was on a cruise, 30 years ago, on the Red Sea.

I wasn't a passenger.

I was singing in the cabaret.

Do you believe that?

(chuckles) I suppose it happens.

(laughs) It was just my bad luck it happened to me.

SERVER: Here.

SUSAN: Thank you.

Jonathan was rich.

He was handsome.

I saw him as a ticket to a better life, but instead, he took me to Marble Hall and his family and his mother, Miriam Crace.

She was cruel to you?

Mm.

She was cruel to everyone.

From the day she met me, she made jokes about me.

Belly dancing, and pyramids, mummies, and eunuchs.

Nefertiti, that was her name for me.

That's horrible-- I'm so sorry.

Jonathan thought she was funny.

(scoffs softly) But then, you see, he was very much his mother's son.

She created the Tiny People, but he wanted to own them.

He wanted to be someone.

If you were unhappy with him, why didn't you leave?

Oh, I did once, I left him.

At least, I tried to.

I'd bought a ticket back to Cairo.

I was on my way to the airport and Frederick was driving.

Was that when Frederick had the accident?

He wasn't concentrating and he went through a red light.

A truck smashed into us.

He got the worst of it.

He was in hospital for weeks, but I had a broken collarbone and whiplash.

I'm still in pain even now.

Why was Frederick driving?

Didn't the family have a chauffeur?

They did once.

His name was Luan.

Luan.

But I never met him.

Yes, I saw a picture of him at Marble Hall.

LEILAH: He was gone before I arrived.

Eliot said that Frederick was drunk.

I'm the drunk, not Frederick.

(music continues) You could leave now.

(chuckles) (slurps) You know, he's afraid of you.

Jonathan?

I can't imagine why.

Because you were working with Eliot and Eliot knew the truth.

He's afraid you're going to bring the whole pack of cards tumbling down, and that's exactly what I want.

I'm sorry?

Destroy them.

Destroy Jonathan and his precious Tiny world.

(music continues) You're the one who can finally set us free.

(slurps) Be careful, Susan.

Be careful of what?

Miriam threatened Jonathan.

She was going to sell the Tiny People.

She threatened him and she died.

Eliot was a threat, too.

Netflix was never gonna go ahead with the deal, not with all the trouble he was causing.

And look what happened to him!

What's your address, Leilah?

And now you're asking questions, digging up the past.

He won't let you get away with it.

Clarendon Gardens!

(engine idling) Watch your back, Susan, and get him before he gets you.

Right.

(falls) (gasps) Ooh!

Whew!

(door closes) Bye-bye, bye.

(phone ringing) (ringing stops) Hi, Elaine.

I spoke to Charles.

What did he say?

ELAINE: I told him what's happened, about Eliot and all the rest of it.

He's not happy about it, but, for Eliot's sake, he's agreed to see you.

You can go in my place.

When?

Tomorrow.

Right, that's, that's brilliant.

Thank you, Elaine.

I'll email you the details.

SUSAN: Thank you.

Thank you-- all right, bye.

♪ ♪ (door buzzing, keys jangling) (I.D.

sliding) Thanks.

(computer keys clacking) (sighs) Thank you.

Thank you.

(door buzzes and opens) Thank you.

You're welcome.

(door closes) (people talking in background) ♪ ♪ (door buzzes in distance) (door closes in distance) Charles.

Hello, Susan.

You're looking well.

(door closes) Thank you.

Do sit down.

Brought you these from the canteen.

(door buzzes in distance) That's very thoughtful of you.

I have to say, I wasn't expecting to see you again.

They do a sort of restorative justice program here.

Prisoners get to meet their victims.

I wasn't planning to sign up.

(door closes in distance) It's good of you to see me.

(sniffs) Well, Elaine persuaded me, you know.

For Eliot's sake.

Not that Eliot has much say in the matter, from what I hear.

(door closes) Charles, I'm sorry about what happened.

I never wanted it to be you who killed Alan.

I just wanted to find the missing chapter.

I never dreamed that... How are you, Susan?

Tell me about yourself.

Elaine tells me you're back in England.

You broke up with Andreas.

Yes.

That's a shame.

I liked him.

We're still friends.

Oh.

(door buzzes and closes) Are you back in publishing?

Freelance.

Must be very frustrating for you.

I hear nobody wants to employ you.

I'd happily write you a reference if, uh, that would help, but... I don't think it would.

No, probably not.

Hm.

How many bookshops were there in Crete?

Not many.

It's an island, it's too small.

Filled with people with whom you have absolutely nothing in common.

Well, bit like prison, you might say.

You can't blame me for what happened.

Oh, for what happened to you or for what happened to me?

You know the worst thing about being in here?

(door buzzes in distance) The absolute pointlessness.

(door closes) The boredom.

The random violence.

The mindlessness.

And the stench of it.

They say you get used to it, but you don't, because, and this is what I've learnt, the stench is existential.

It's putrefying, literally so.

That's all we're doing in here, rotting away.

I want to ask you about Eliot.

Oh, yeah, poor Eliot.

I have to say, it's quite strange how many people who cross your path come a cropper.

You knew him when he was a child.

Yes, I did, I suppose he must have been 12 years old then.

(door buzzes and closes) Time flies.

And you stayed friends?

They won't let me go to his funeral, I've already asked, but yes.

We were friends.

Eliot believed that someone killed his grandmother, Miriam Crace.

He said that he saw it.

Did he say anything to you about it?

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

I'm asking you to help Eliot.

Well, I don't think Eliot needs help anymore.

You, on the other hand... (smacks lips) What?

Well, Elaine tells me that they know who ran him over, and that you're high on the suspect list.

Well, right at the top, in fact.

Mm.

I wasn't driving the car that night, Charles, and the CCTV footage will prove it eventually.

Hm.

I wonder.

(doors close in distance) (exhales) Mm.

Who do you think did it?

The same person who killed Miriam Crace.

(door buzzes) Who was that?

(door closes) Well, I always thought it would be one of the children-- Roland, Julia, or Eliot.

I mean, they were the ones who seemed to have suffered the most, and... (inhales) ...they certainly talked about getting rid of Grandma.

They planned it-- they even concocted some sort of poison from household chemicals.

What about Jonathan?

It's possible.

Miriam was always threatening to sell off the rights to the books and Eliot was always threatening to blow up the entire legacy.

Anything to save The Tiny People.

(footsteps tapping) (door buzzes) Why do you think that?

I don't know.

When I heard that Miriam was dead, my first thought was that it might've been one of her lovers.

(door buzzes) Lovers?!

(door closes) Don't tell me you don't know about the affairs!

Oh, dear, oh, dear, Susan, you do surprise me.

No, the, the big secret about Miriam Crace was that throughout her marriage, she was a nymphomaniac, chasing anything in trousers.

She was having it away with half the domestic staff, and there were rumors that included one of the nannies.

How do you know this?

A writer called Matthew Wreith Williams wrote an unauthorized biography.

The Crace estate and their solicitors crushed it before it ever came to publication, but I read the manuscript.

You heard about that famous breakdown of hers?

Yeah, she spent six months in a clinic in Lausanne.

That was for stress.

That was a lie.

The only breakdown that Miriam ever had was her marriage.

Her husband, Arthur Crace, threatened to walk out, so she was forced to take a trial separation for six months.

Wouldn't it have been simpler just to get divorced?

Miriam was a Roman Catholic.

Her father was a deacon.

So who did kill her?

Do you know?

As a matter of fact, I do.

Eliot told me.

Who was it?

From the moment you sat down, I've been wondering whether I should tell you or leave you hanging in the wind.

But you know what?

I think I am gonna tell you what Eliot told me, because I think you'll find it quite amusing to know.

♪ ♪ You started by saying it was one of the three of them: Roland, Julia, and Eliot.

And you were right.

The three of them concocted a poison.

YOUNG ROLAND: Aconitum napellus.

CHARLES: Marble Hall gardens was full of poisonous plants, from wolfsbane to deadly nightshade.

And take it from me, what they concocted that night was lethal, particularly for an old lady with a heart condition.

♪ ♪ And that's what they did.

(thunder rumbling) What they'd set out to do.

At least, one of them did.

(floor creaks) Miriam Crace's bedroom was at the bottom of a long corridor.

Eliot woke up.

♪ ♪ And that was when he saw his brother... ♪ ♪ ...Roland Crace.

(door slams) So Roland was the killer.

Yes.

(door buzzes, closes) There's just one problem-- it's not gonna do you any good.

Why is that, Charles?

Nobody knows this story except you and me.

And if anybody asks me, I'm gonna deny it.

Why would you do that?

I would have thought that was obvious.

Let me tell you what's in my mind.

I was wrong to kill Alan, of course I was.

But it wasn't as if I planned it.

It wasn't premeditated, and if you'd heard him speak to me like that on the roof, you know, maybe you'd have understood.

He was gonna destroy my business.

11 years down the drain.

Everything I'd ever-- we, we'd ever worked for.

And my retirement?

Well, you can forget about that.

He didn't give a damn about me, or you, and if you'd heard him sneering at me like that, you know what, Susan?

Maybe you'd have done the same.

No, no, I'm not like that.

Hm.

Well, I won't argue with you, but you tell me this.

What difference did it make?

Alan was a pig.

He was ungrateful, entitled, no good to anyone.

And on top of that, the doctors had given him six months to live.

So you tell me, at the end of the day, what difference did it make?

Killing him?

You seriously want me to answer that?

Well, you already have.

I mean, you worked it out for yourself.

I give you full credit for that, and you, you responded by reporting me to the police.

(door closes) But what good did it do?

I was 63 years old.

All I was planning for my retirement was theater and opera, playing with my grandchildren, and perhaps doing a bit of charity work on the side.

I mean, it wasn't as if I was a mass murderer or anything.

So at the end of the day, what harm did you think I was gonna do?

You tried to kill me.

Well, look, that was afterwards, and only because you were so bloody high-minded and determined to bring me down.

You were just like Alan.

But if you'd walked away... ...if you'd accepted what had happened and tried to understand me... ...instead of sitting there in, in high moral judgment... Well, think of the consequences.

Think of all that happened, hm?

(door closes) I'm stuck in here, dying a slow death.

And it isn't as if things have gone exactly brilliantly for you, either.

You could've been C.E.O.

of Clover Books.

Instead, you've lost your reputation, your job, everything you've ever worked for.

So please tell me, where is the sense in that?

It wasn't about sense, it was about justice.

It was about doing the right thing.

Well, there you go again.

Do, do you know how pious and self-satisfied you sound?

(sighs deeply) That's why I've asked you here today.

That's why I let Elaine persuade me.

I wanted you to know what's coming your way.

♪ ♪ I'm the only person that knows that Roland killed his grandmother, and I'm not saying anything.

He may have run his brother over, too, but he's not the main suspect.

You are.

And guess what?

You're gonna be arrested.

You're gonna go through exactly the same thing that I have.

Except that they're probably gonna send you to Bronzefield.

That's where they send the worst women offenders.

(doors slamming) ♪ ♪ Thank you for the snacks.

♪ ♪ Now go to hell.

No, Charles.

I'm leaving hell.

You're the one who's staying.

♪ ♪ (keys jangling, door opens) ♪ ♪ (door closes) (phone ringing, train passing in distance) (sniffs) (exhales, ringing stops) Hi, Elaine.

Susan.

Where are you?

I'm at the station.

ELAINE: Are you all right?

Did you talk to him?

How, how is he?

SUSAN: Well, he wasn't very happy to see me, you were right about that.

I mean, he did talk to me, but... He, he didn't want to help me, so... I suppose, given everything that's happened, I can't say I blame him.

(doorbell buzzing) Damn, I've got to go.

Talk later.

Mm?

♪ ♪ ♪ ♪ ♪ ♪ (gasps) ♪ ♪ (groans) (exhales) (groans) ♪ ♪ (groans) (exhales) (sniffs) ♪ ♪ (sighs) ♪ ♪ (exhales) (sniffs) (Hugo meows loudly) Hugo?!

Hugo?

Hugo!

(Hugo crying) Hu... (cries out) Hugo?

(meows) (softly): Hugo.

Hugo, I'm not gonna hurt you.

It's all right, it's all right.

Come on, Hugo.

(Hugo yowls) Hugo, Hugo, it's all right.

(Hugo cries) Come on.

(Hugo whimpering) (meows) (under breath): No car.

It's all right.

(Hugo crying) ♪ ♪ (Hugo whimpering) ♪ ♪ (Hugo wailing) ♪ ♪ (Hugo whimpering) ♪ ♪ (panting): Sorry, it's an emergency.

Somebody's stabbed my cat.

Okay, hold on, I'll grab a vet.

Thank you.

(dog whining) (panting) Susan?

(sniffs, exhales) Would you like to come through?

The first thing you need to know is, he's going to be okay.

Oh, thank goodness for that.

He suffered a serious abdominal wound, but he's in good hands now.

And it was good that you got him here so quickly.

He, he lost a lot of blood.

I know.

I've given him a transfusion.

He's been stitched up and he's under sedation now, but if he was going to die, he'd have done that already.

Hypovolemic shock.

That said, we need to keep him here for a few days, just to keep an eye on him.

Right.

Look, I've got to ask, do you have any idea how this happened?

You live in a flat, is that right?

Yes.

Any of your neighbors complained about you keeping pets?

Oh, no-- no, no, it's, it's... It's nothing like that.

Um, I had a break-in.

Thank you very much for your help.

Okay.

Janice will give you a call, let you how it's going.

Right, thank you.

(sniffles) (people talking in background) ♪ ♪ (sighs) ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (doorbell buzzes) (exhales) When did you discover this?

A couple of hours ago.

Whoever did this hurt my cat, so I've been at the vet's.

You all right?

Well, I'm... (chuckles) Wait here a minute, I'll take a look around.

♪ ♪ ♪ ♪ (sighs) ♪ ♪ Hm.

♪ ♪ ♪ ♪ (footsteps approaching) ♪ ♪ (hinges creak) (footsteps approach) Your security leaves a lot to be desired.

No alarms, no CCTV.

I've only just moved in.

Hm, well, they've got in through the garden.

And they've forced the lock on that door.

Somebody thinks I killed Eliot Crace.

They certainly made their message clear.

You'll be glad to hear it's red paint and not blood.

Meaning they brought it with them.

Or bought it locally, yeah.

We'll check that, too.

(inhales) You say that you discovered this at 6:00?

How long had you been out?

Well, all day, pretty much.

Uh, I left about 11:00.

Where'd you go?

Well, actually, I went to Westpark Prison.

I visited Charles Clover.

Why'd you do that?

I'm doing my best to keep one step ahead of you.

Well, I'll tell you what we're gonna do now.

This is a crime scene.

I've got a team coming in.

They'll take photos, check for fingerprints, all the rest of it.

I know a good private company that can clean up some of this mess.

Do you have anywhere to go?

Uh, yeah.

My sister Katie's got a place in Elstree, but, um, she's not there yet.

She's got a work thing, so... You should call her.

I have, I've left her a message.

Then, in the meantime, you should look after yourself.

(chuckles) Have you had something to eat?

Is that an invitation?

No.

Just a question.

You've had an unpleasant shock.

You should eat something.

Oh, well, there's nothing left in the fridge.

Well, if there's somewhere local that you like, I'll drive you there.

Mm.

♪ ♪ ♪ ♪ Can I be honest with you?

I've got a real thing about eating alone in restaurants.

(classical music playing) Have you eaten tonight?

Is that an invitation?

Ha-ha.

Huh.

Look, I've had a very long, very tiring, very unpleasant day.

I'm sure I'm the last person in the world you want to have dinner with, and maybe you're not even allowed, but if we sit opposite each other and make sure our knees don't touch, where's the harm in that?

(sighs) You can ask me more questions, and maybe I can prove to you that I don't have it in me to kill anyone.

It's just up here.

(brakes squeaking) (engine idling) (engine stops) (doors lock) There you go.

Thank you.

(music playing in background) Thank you for this.

I imagine it's something you don't do that often.

Eat out?

With one of your murder suspects.

I don't see it like that, Ms.

Ryeland.

Right now, you are the victim of a violent and unpleasant crime, and I'd say it's my responsibility to look after you until it's fully investigated.

Business not pleasure, of course, but can I just ask one favor?

Course.

Would you mind if we used first names, just until we leave the restaurant?

It would make this seem a little less weird.

Don't see why not-- it's Ian.

(clears throat) Yes, I know, I, I saw your warrant card.

Ian Blakeney and Emma Wardlaw.

Do you really think I killed Eliot Crace?

I'd say it's a strong possibility.

(breathes deeply) And if you want to persuade me otherwise, you might begin by telling me what you wanted from Charles Clover.

Charles knew Eliot when Eliot was 12 years old.

And he visited Marble Hall several times.

You still maintain that the death of Miriam Crace and the murder of her grandson 20 years later are connected.

I'm sure of it.

Did Charles Clover help you?

Well, he'd deny it, but yes, he did.

He told me what Eliot had told him.

Which was?

Eliot told him that Miriam Crace was poisoned by his older brother, Roland.

He saw Roland... (sighs) ...with the poison going to her room.

What about the death certificate?

What about it?

According to the death certificate, Miriam Crace died of natural causes.

Uh, well, yes, that was, um, Dr.

Lambert-- he was the family doctor-- but he was bribed.

(laughing) Who told you that?

I worked it out.

I visited Dr.

Lambert at his home, and he couldn't resist showing off his classic car collection.

But he lied to me about being a beneficiary in Miriam Crace's will.

That's what he told me.

But then I spoke to Jonathan Crace, who denied it.

Excuse me.

(softly): Dr.

Lambert didn't receive any money from Miriam Crace, but cars like that don't come cheap, so he must have been bribed.

Maybe you should get her body exhumed.

(chuckles) The world's most famous children's writer?

I don't think that would go down too well.

Or come up, for that matter.

(chuckles) Did you read "The Tiny People"?

I read 'em to my kids.

They never really liked them.

I think they found the characters too good to be true.

(music continues) So, you fancy yourself a detective, do you, Susan?

God, no!

You go to HMP Westlake to visit Charles Clover.

You interview Dr.

Lambert.

What else have you been up to?

I'm just trying to find the truth.

Maybe you should leave that to the professionals.

The professionals want to arrest me.

(fork tapping) One more question.

I noticed an unopened package on your table in your flat.

Mm, it was a book, what of it?

When did it arrive?

Uh, it was squeezed in the letter box when I came home.

That might be helpful.

If the courier came to the door, and he or she noticed something, it might be worth following up.

I never thought of that.

That's 'cause I'm the detective.

(music continues) (laughing) (chuckles) (Susan exhales) I can get a taxi, you know.

Elstree's not that far-- I can drive you.

Okay, thanks.

(dog barks) Sister know you're coming?

I told her I'm on my way, but I didn't say why.

(sighs) Probably wise.

(chuckles) Yeah.

♪ ♪ (people talking in background) ♪ ♪ When we met, you said that you'd read all of the Atticus Pünd novels.

Is that really true?

(chuckles) Why do you ask?

(both laugh) I like detective novels, I always have.

Any favorites?

American writers, mainly.

Uh, Chandler, Hammett, Connelly, Coben.

Mm, hm.

Modern stuff, too.

Is that why you went into the police?

Uh, no.

I grew up in Brighton.

(exhales) There was a lot of crime back then.

Street crime.

Drugs, gangs, knife fights.

Just thought I could make a difference.

How long have you been a detective?

Too long.

It's a job that sort of corrodes its way into you, you know?

But a few more years and I'll be out.

I'll probably regret telling you this, but I'd quite like to write.

(both laugh) I've done a few short stories... Oh!

...to try my hand.

(laughing): Right.

(exhales): Well... It's something my wife always said I should do.

You're not together?

She died.

Oh, I'm sorry.

(classical music playing) (sighs) I'm sure you have plenty to write about.

What I do and crime fiction, they're not the same.

(music continues) That's exactly what Detective Superintendent Locke used to say.

I know.

I spoke to him.

Hm?

He doesn't send his regards.

(both laugh) (sighs) Thank you for... Mm?

...risking your reputation and your career by coming for dinner.

Daresay I'll get over it.

I really needed it.

Look, for what it's worth... (sighs) ...I've been round to Eliot's house, read his book, and I've got his notes.

Can I see them?

I'm afraid I can't give them to you, because they're evidence.

But I'll look through them, and if anything catches my eye, I'll let you know.

Susan?

Uh, uh... (clears throat) You better go.

Mm.

Uh, thank you.

(chuckles) Hi!

Sorry I'm late.

(car door closes, engine starts) (exhales) So, who's that?

Uh, oh, it's a long story.

You sure you don't mind me staying?

No, no, not at all.

Um, but I have got something I need to tell you.

Oh, what?

David's here.

You mean?

Yes, we're... Oh!

Oh, Katie, that's wonderful.

Oh, I'm really happy for you, truly.

(chuckles) I, I thought you didn't like him.

Oh, well, the first time I met him, I hardly spoke to him.

You mean he hardly spoke to you.

Look, if you're gonna be together, of course I want to get to know him-- where is he?

Upstairs.

So, can I get you anything?

Uh, just a glass of water.

(exhales) (water runs, stops) Well... Go on, then.

Tell me.

What?

Who brought you here?

Oh!

That's the detective who wants to arrest me.

Why don't you ever take anything seriously?

(chuckles) ♪ ♪ (brakes squeak) (engine stops) (police radios running) (people talking in background) ♪ ♪ Anything?

I mean, it's a good opportunity to look round the place.

Huh.

Is that why you took her for dinner?

No.

Then if you don't mind my asking, sir, what exactly are you doing?

I'm trying to solve a crime.

In fiction or in real life?

Huh.

Maybe both.

What, and you believe that cozying up with the main... (scoffs) ...with the only suspect, having dinner with her, will help?

Look around you.

You can see what someone has done here.

And the cat?

(scoffs) Everything I did here was entirely within my remit.

Susan Ryeland was in shock, and she was on her own.

I'm just wondering if there isn't something else going on.

Like?

What?

She killed Eliot Crace!

We have the evidence, the motive, everything!

Everything except the truth.

(exhales) (siren wailing in distance) (exhales) (exhales) ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (click) ♪ ♪ ROLAND: I had nothing to do with the death of my grandmother.

What about the night that Eliot was run down?

(engine starts) BLAKENEY: I came here to give you the final chapter of "Pünd's Last Case."

PÜND: Then it is time to bring this matter to a close.

I know who killed him.

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