(driving music) ♪ (intriguing music) ♪ (phone ringing) (traffic rumbling) ♪ (answering machine beeping) (DS Clarke) Inspector, this is DS Clarke.

We met yesterday.

Your mobile's off, and this is urgent.

I've arranged a car for you.

He's waiting downstairs.

I'll see you there.

(sirens wailing) ♪ (indistinct speaking) ♪ (indistinct radio chatter) ♪ (officer) Good result for the Jambos, sir.

(indistinct radio chatter) (grim music) (officer) Sir.

(DI Rebus) DS Clarke, whatcha got for me today?

(DS Clarke) Something a bit exotic, sir.

(DI Rebus) No, thank you.

♪ (disturbing music) ♪ (cameras shuttering) ♪ -His name's Dr. Joseph Devlin.

-I know.

Oh.

His housekeeper found him.

Dr. Devlin runs, or ran, the maternity unit at Templemount private hospital.

Ran, he's retired.

He certainly is.

♪ (DS Clarke) Whoever did it, opened his veins and let him bleed to death.

♪ He had a wife who helped out at the clinic.

(DS Clarke) Died, three years ago.

(investigator) Uh, I haven't looked at that yet, inspector.

(DS Clarke) The housekeeper prepared a meal for the doctor and a guest before she went home last night.

And do we know with whom the good doctor shared his final repast?

Uh, Sir James Hogarth.

One of the wealthiest men in Edinburgh, private banker.

-The super rich usually are.

-Usually are what?

Private bankers.

That is rhyming slang, isn't it?

No, that's what he actually does.

He's a private banker.

(door closing) Oh.

♪ I want to see that as soon as.

(investigator) Of course, sir.

(Gill) He has to be a psycho, right?

This guy's definitely coming under C, C for crazy.

(Gill) Early thoughts?

(DI Rebus) Devlin ran a maternity unit.

The killer left a coffin with a baby's effigy inside it.

Did Devlin also carry out pregnancy terminations?

Was the killer a pro-lifer who'd suddenly become selectively pro-life?

(Gill) Infant mortality has to be another, right?

Devlin must have had his fair share of dead babies.

Maybe we have a parent who blames Devlin for their loss.

(DI Rebus) Possible.

(Gill) Two possibilities, yet, I detect uncertainty?

Why the smile on the baby's face?

No harm in examining our possibilities, though.

Especially when it's all we've got.

(Gill) Where are you going?

(DI Rebus) Oh, just out.

(mysterious music) ♪ (chimes tinkling) ♪ There were 17 of these found 1830 something.

♪ That's all that's left.

Nobody knows what they're for.

♪ But I was wondering if the killer used this for inspiration.

And you felt you had to wonder on your own?

♪ Mea culpa.

But I coulda left my phone off, then you'd never have tracked me down.

And I wanted to get a head start.

(DS Clarke) Why?

(DI Rebus) That is Miranda Masterson.

Now, she's a curator here, and she and I are having an on/off relationship, which is currently off and I want on.

So, I thought I'd kill two birds with one stone, refresh my memory on these coffins, and get Miranda back into my bed.

Now, I think you'll agree that is something which is best done on a one to one basis.

(DS Clarke) Her and you?

(DI Rebus) I admit, she's a little on the young side, but she makes up for it in other ways.

She has wit and charm, and a profound love of Hibernian Football Club.

(Miranda) It's done, aromatherapy session cancelled.

(DI Rebus) Well, maybe not.

Drinks at the Oxford, 8:15?

(Miranda) Yeah, and one minute late, and it's a red card for you and a taxi home for me.

Understood.

♪ Has anybody been showing more than a casual interest in these?

Uh, I have no idea, why?

I'd rather hoped that they had.

-Uh, Phillippa!

-Bye!

♪ (Miranda) Phillippa Balfour, she's a student with us on work experience.

-Hello.

-DS Clarke, police.

We were wondering have you noticed anyone paying close attention to this exhibit?

No.

I mean, it's popular, but most people stand for a minute and move on.

No one's ever asked you any questions about it?

No, I don't think so.

Is something wrong?

(Miranda) I don't know.

Thank you.

♪ 8:15.

♪ (lively bagpipe music) ♪ (DS Clarke) You know, I still can't believe it.

A woman like that.

(DI Rebus) What, bein' a Hibby?

Yeah, I know, she looks more rugby, don't you think?

(DS Clarke) I wasn't talking about her football allegiance, though, God knows that's bizarre enough.

(DI Rebus) Ah, it's the age question.

So, what's so special about younger men?

(DS Clarke) They tend to have flat stomachs and breasts that are smaller than my own.

(DI Rebus) That is disappointingly shallow, Siobhan.

(DS Clarke) I can get even shallower.

Hey!

Watch where you're going, Mr. Magoo.

(DI Rebus) Mr. Magoo?

Me?

♪ (upbeat music) ♪ Sir James, Mrs. Kollross.

♪ (Sir James) Right, I simply can't take it in.

(DI Rebus) Can you tell us about last night, Sir James?

(Sir James) Uh, I, uh, I dined with Joe, and we discussed his finances.

He's a customer of Hogarth's as well as a friend.

And then, about 11:00, I called a cab, and I came home.

(DI Rebus) When you left, did you notice anything out of the ordinary?

Anyone hanging around the house?

-No, no, I didn't.

-Nothing at all unusual last night?

No.

Can you think of anyone who'd wish to harm Dr. Devlin?

-Someone he may have mentioned-- -No, I can't!

Couldn't it have been an opportunist crime?

-A robbery?

-No.

It was deliberate and planned.

-In what way?

-We can't say.

Can't say?

Won't say.

Won't, for now.

Good, isn't she?

We just became a team.

She's sort of Robin to my Batman.

(Sir James sighing) Thank you, Sir James.

Mrs. Kollross.

It is still Mrs. Kollross, isn't it?

It is.

Is it still inspector?

I'd have thought a man of your age, well, chief superintendent, surely.

Well, if the face doesn't fit.

(Fiona) Perhaps your loss of progress has more to do with misplaced levity, Batman.

Maybe you're right.

That's what we call gallows humor, sort of a defense mechanism used by most policeman, given the horrible things we see and the dubious people that we meet.

-Really?

-Really.

Thanks for your help.

(crow cawing) (Fiona) Sorry, Daddy.

(DI Rebus) What?

(DS Clarke) You clearly have a history with those people.

(DI Rebus) Uh-huh.

(crow cawing) (car passing) (birds chirping) (car door closing and locking) (DS Clarke) This is very impressive, Mr. Mayes.

-What is?

-Every child mortality going back to 1978.

(Mr. Mayes) Well, I like to be thorough.

And the information is all on computer now.

(DI Rebus) Did Dr. Devlin perform abortions?

(Mr. Mayes) He would have, yes.

(DI Rebus) Would you know if he ever received threats?

(DS Clarke) Say, from extreme pro-life groups.

-Or a parent on the list.

-If he was threatened, I'm not aware of it.

You should ask my predecessor, Miss Currie.

She was admin officer here since, well, the beginning of time, I think.

-Thank you, Mr. Mayes.

-My pleasure.

(baby crying) (traffic rumbling) (horn honking) (DS Clarke) Anything catch your eye?

(DI Rebus) Ghosts.

(DS Clarke) Ghosts?

(DI Rebus) Baby Kollross, male, stillborn.

Mother Fiona, Father Michael.

Jeez-o, was that really 23 years ago?

(DS Clarke) Fiona Kollross, as in?

(DI Rebus) The very same, née Hogarth.

(DS Clarke) You said ghosts plural.

Fiona Kollross looked very much alive to me.

(DI Rebus) Her husband isn't.

(DS Clarke) What happened?

(DI Rebus) Killed himself.

-Because his baby died?

-No.

He killed himself a few days before his child was born.

(DS Clarke) What man would kill himself with his wife about to give birth?

(DI Rebus) That's the question I asked myself.

This suicide is a mystery to most folk.

He was young, he was brilliant, he was a promising surgeon.

He was marrying into money.

He was a golden boy if ever there was one.

(DS Clarke) A mystery to most folk?

(DI Rebus) I was sure that Fiona knew why he did it, and Sir James, and his wife, but I was warned off by the bankers.

Very powerful.

Lot of money, funny handshakes.

(DS Clarke) Oh, you and the Hogarths, the history.

What made you think they knew?

(spitting) (DI Rebus) Oi!

Starts with a P, rhymes with fish, dish, and swish.

Pish coffee!

(traffic rumbling) (Miss Currie) Now these are our millennium babies.

So, see, "year 2000."

Girls on the left, boys on the right.

(DI Rebus) My, there's some bonny babies here, Miss Currie.

Have you seen them, Siobhan?

Come and have a look.

Very nice.

(DI Rebus) I think she's afraid to come too close in case she starts gettin' all broody.

(Miss Currie) Oh!

You get yourself a man and babies, dear.

Spinsterhood's only plus is a well-sprung pelvic floor.

(DI Rebus) Are all the babies photographed here?

(Miss Currie) Oh, yes!

And the families all received a framed copy.

I started that tradition myself.

So, when I retired, I was presented with my handiwork as a gift.

Have we met?

(DI Rebus) Yes, yes, we have.

Yes, I was one of the policeman working on the death of Michael Kollross.

-We met at Templemount.

-Oh, yes.

Poor Michael, yeah.

(DI Rebus) Tell me, Miss Currie, do you know did Dr. Devlin receive threats of any kind?

(Miss Currie) Threats?

Oh, no, no, never!

I'm sorry.

I'm sorry.

(DI Rebus) Set the kettle on, Siobhan, will you?

Milk, no sugar.

Miss Currie?

(Miss Currie) No milk and two sugars, Siobhan.

(DS Clarke) I'll away and put the kettle on, shall I?

And do you prefer rich tea or digestives to dunk, inspector?

(DI Rebus) No need for sarcasm.

(people murmuring) Hello.

(indistinct speaking) (DS Clarke) Excuse me.

(indistinct speaking) (Phillippa) When I was at Oxford, I became friends with this boy, David Costello.

After a while, he wanted more than friendship.

When I declined, he decided to start badgering me.

I went to the police.

(Miranda) The boy's flat was covered in photographs of Phillippa.

(Phillippa) He was charged with stalking -and given a suspended sentence.

-When was this?

(Phillippa) About three years ago.

(Miranda) Oh, tell 'em about the email.

(Phillippa) David left me alone after that... until this morning, when he sent me this.

Sit down.

"My little general.

So, it was Edinburgh after all.

That was considerate of you, Flip.

Read the papers and see what I've done.

You hold lives in your hands, Flip.

Say you'll be mine, and you'll save them.

I'll leave my little coffins so you'll know it's me what done it."

You sure the email's from him?

My hobby is war games.

He joined the club I was in at Oxford.

And, as I was forever beating him, he used to call me his little general.

And Flip, he used to call me that too.

What does the reference to Edinburgh mean?

Oh, he knew I intended coming here to study.

I made it easy for him to follow, I suppose.

After everything that happened, I didn't think he'd dare contact me again.

What should we do?

You've done more than enough already.

(printer chugging) (phone ringing) Oh!

Blind Pew!

(Gill) You know this man?

-Bumped into him.

-Outside the museum.

(DI Rebus) Don't like coincidences, make me nervous.

(Gill) Hardly a sane man's wallpaper.

What about the girl?

(DI Rebus) Moving her to Miranda's.

Just in case.

(Gill) Miranda?

Member of Easter Road hardcore.

Student accommodations have come a long way.

(Phillippa) My parents were wealthy.

When they died, well.

Waterloo.

(DI Rebus) What makes a good one?

A good general?

(Phillippa) Be prepared to take the big risks, always confuse the enemy, and always have a plan B.

That'll do, I think.

(DI Rebus) Is that where you met Costello?

At the war games club?

No, joining the club was part of his pursuit of me.

(rustling) How did you meet?

(Phillippa) I'm involved in children's charities.

David worked for one of them.

My mother died when I was eight.

When my father remarried, his new wife didn't like me very much, and life became extremely difficult for me.

When I inherited, I decided to help out kids in similar situations.

(DI Rebus) Do you think he's after your money?

I honestly don't know if that's it.

-What's he like?

-Like?

A fantasist.

Pure Walter Mitty.

(intriguing music) ♪ (priest) The Lord is full of compassion and mercy, slow to anger, and of great kindness.

As a father cares for his children, so does the Lord care for those -who fear Him.

-Hey!

(priest) For He Himself knows of what we are made.

He remembers that we are but dust.

Our days are the grass.

We flourish like a flower in the field.

When the wind goes over it, it is gone, and its place shall know it no more.

(DS Clarke) Oh, bollocks!

(priest) But the merciful goodness of the Lord endures forever on those who fear Him.

♪ (tense music) ♪ (DS Clarke) Mary, hello, how good to see you.

I'm so sorry, I thought you were someone else.

♪ (woman) That's Margaret's girl.

♪ (angelic music) ♪ -Bugger!

-You sure it was him?

(DS Clarke) No.

(DI Rebus) Are you okay?

(DS Clarke) No.

(Mr. Hayes) Inspector Rebus.

(DI Rebus) Mr. Mayes.

(Mr. Mayes) A lovely service.

Never been as close to that much money before.

What do you mean money?

Sir James Hogarth.

(DI Rebus) I didn't know you knew Dr. Devlin.

(Mr. Hayes) He came to Templemount about five or six weeks ago.

He seemed like a nice chap, so here I am.

I suppose it's got its downside to it.

-What?

-Money.

Let's hope so.

(suspicious music) ♪ (David) Thanks.

♪ (sinister music) (baby crying) ♪ (phone ringing) (DI Rebus) Hello?

Where?

(DS Clarke) Thank you very much.

♪ He's absolutely certain.

Dressed in black, tie, as if for a funeral.

What's he doing here?

(DI Rebus) What's he doing now?

♪ He said Costello knew he'd been spotted, didn't seem to care, even smiled.

-Smiled?

-That's what he said.

(DI Rebus) Then maybe David Costello is arrogant, which means we will most definitely catch him, but not tonight, I'm thinking, not night.

Can you get me to the Oxford, please?

♪ -Oh, .... -What?

-Flat tire.

-Oh, no!

No, I don't believe it!

-No, no!

-Change it, shall I?

Look, I'd muck-- No, no, I'll get you there.

♪ -Ass.

-What?

-No spare.

-Oh, you're kidding!

♪ (calm music) ♪ (pages turning) ♪ (clock ticking) ♪ (lively bagpipe music) ♪ That's her!

(tires screeching) You're too late!

-Miranda!

-You're late.

I warned you.

We had a puncture!

Excuses, good night.

♪ I'll give you my Joe Baker!

You're lying.

♪ Keep the date, I'll give you my Joe Baker!

♪ How much longer?

Be patient!

(clicking) What are you doin'?

(DI Rebus) Three, two, one.

(lights turning on) (energetic music) ♪ (laughing) ♪ (Miranda) Rebus!

(audience cheering) Oh, ya dancer!

(laughing) ♪ (DI Rebus) Forgiven?

(Miranda) Forgiven?

Rebus, if you ever dreamed of scorin' at Easter Road, dream no more.

(siren wailing) (Rebus) Um, that is a magnificent thought.

Just hold onto that thought.

Just hold on to that thought.

(laughing) (sinister music) ♪ (car passing) (map rustling) ♪ (Miranda) I can't believe he's mine.

(DI Rebus) Ah, well.

I've still got the Famous Five.

(Miranda) The Famous Five?

(DI Rebus) Come and have a look.

(wondrous music) ♪ They're fantastic.

♪ What are you gonna do with them?

♪ (DI Rebus) Well, I thought I might fix them to the ceiling as a sort of conversation piece viewed from the bed.

I mean, how erotic is that?

(laughing) -Unless you're a Jambo.

-What?

In my bed?

♪ (sinister music) (sighing) ♪ You know, that might just work!

♪ (knocking) ♪ (knocking) (David) Mrs. Hogarth.

Hello!

(DI Rebus) Stop it!

Don't, you're moving, stop it!

Don't, no ,no ,no, no, no, no, don't.

(John Martyn) ♪ And you've been livin' on solid air ♪ ♪ You've been walkin' the line ♪ (Miranda) Did I say I was going to America soon?

(DI Rebus) America?

I do not recall you saying that, no.

(John Martyn) ♪ And I can tell you that it's hard to hide ♪ Not forever, I hope.

Six months exchange.

(relaxed music) I just thought you should know that.

So that instead of sittin' there coloring, we might use our time more fruitfully.

Fruitfully?

I like the sound of that.

(phone ringing) ♪ through solid air ♪ ♪ Hey.

(John Martyn) ♪ And I can tell you don't like what you find when you're moving through solid air ♪ (Miranda) Hello?

♪ Oh, well, actually, he's right here.

Phillippa.

(DI Rebus) Hello?

(Phillippa) I've had an email from David.

Just an address this time.

Inverlever House.

(foreboding music) ♪ (brakes squealing) ♪ (disturbing music) ♪ (sinister music) (indistinct radio chatter) ♪ (crows cawing) ♪ (camera shuttering) ♪ That's new.

What's new?

(DI Rebus) Bible.

(DS Clarke) How do you know?

(DI Rebus) Last time I visited here, there were pages torn out, strewn across the floor.

What were you doing here?

This lady is Jessica Hogarth, wife of Sir James, mother of Fiona.

I was investigating the death of Michael Kollross.

He spent the last days of his life here.

History again?

Michael Kollross came to live with his mother-in-law?

How odd!

I was convinced that if anybody knew why he killed himself, she would.

And did she?

(DI Rebus) Oh, yes.

I'd already guessed the reason, but I needed it confirmed.

You guessed?

(DI Rebus) You said it yourself, Siobhan.

Why would a man kill himself knowing that the had a child about to be born?

Unless, his child wasn't about to be born.

(crow cawing) You mean not his?

Then whose?

(car approaching and door closing) That's what I never found out.

(man) Inspector?

Another smile.

There's something else.

(eerie music) Inside the lid.

See?

Numbers.

Eight, three, eight, two.

♪ Better.

Can we make this quick?

I'm going out.

(Rebus) I feel bound to say, Mrs. Kollross, you're taking your mother's death remarkably well.

(Fiona) I last saw my mother when I was in my late teens.

She's been gone a long time.

(Rebus) Can I ask... ...why the separation?

My father is a very complex man.

She wasn't good with complexity.

They weren't ever happy.

And as she got older, she retreated from reality.

The Bible became her lens on the world.

And she'd only communicate through Scripture.

(somber music) Of course, we tried to help, but... ♪ ...she couldn't see that she was ill. ♪ In the end, she left.

♪ And we let her go.

♪ (footsteps) ♪ (Sir James) Sergeant.

♪ You don't mind if I do this, do you?

I'm expecting my daughter over for dinner tonight.

(Siobhan) Of course not, go right ahead.

♪ (Sir James) Poor Jessica.

♪ I can't imagine who'd do such a thing.

Oh, we think we know who did it.

This Costello.

♪ But what was his motive?

♪ My wife and my best friend.

♪ Why is he doing this?

(Rebus) We're not sure about a motive.

♪ He leaves things.

♪ Things?

Tiny coffins.

♪ With effigies inside.

Effigies of smiling babies.

Last time, there was a number on it.

♪ Numbers?

♪ (Siobhan) Eight, three, eight, two.

♪ Sir James?

♪ Nothing.

Just numbers, I'm afraid.

♪ (Fiona) Eight, three, eight, two.

No.

♪ Can't say they mean anything straight off.

You're sure?

I've just said so.

♪ (Siobhan) There wasn't a wet eye in the house.

(Rebus) Likewise.

And the numbers?

(Siobhan) Meant nothing to him.

(Rebus) Nor her.

Could be a date.

8th of March, 1982.

The day she lost her son.

The day he lost his grandson.

Then again, maybe just didn't register.

She was in a hurry to go out.

(Siobhan) Well, dinner with Daddy is hardly a big deal.

(cellphone ringing) (indistinct chatter) Hello?

(Phillippa) Two people killed because of me.

(Rebus) "My little general, I hope the demise of the old lady will convince you I mean business.

Watch this space."

It's possible it's got nothing to do with you.

Costello could be lying.

-Lying?

-Let's just say the random selection of victims theory has taken a bit of a knock.

Out of a whole city, he picks two people who knew each other.

(Miranda) Then why is he doing it?

(Rebus) I don't know.

♪ (telephone ringing) (door slamming) When you mentioned Miranda... Mm-hm.

The chief super kind of tightens.

Why is that?

Girl meets boy, girl loses boy.

Girl still holds torch for boy.

The old story.

You and the chief super?

Mm-hm.

But she's the chief super.

Rank comes off with the rest of the kit.

(door slamming) (Siobhan) Are they saying anything yet?

(Rebus) There's one thing that keeps recurring.

I don't understand it.

(Siobhan) And that is?

(marker squeaking) (soft music) ♪ "I'm not dead," they're saying.

♪ "That's why I'm smiling.

♪ I'm still alive."

♪ (thunder rumbling) ♪ (Miranda) Do you mind?

It's pouring outside and we need some milk.

-Oh, I'll go.

-No, it's okay.

♪ (whirring) ♪ (David) Flip!

♪ (Miranda screams) ♪ Oi!

♪ (Miranda) Okay, so that's the Peploe and that for January.

-Hey.

-Hey.

-Are you okay?

-Yeah.

It's just my leg.

(Rebus) You should be at home.

(Phillippa) Yeah, she should.

(Miranda) I'm okay.

I have to get this done.

America, remember?

She borrowed my coat, and David must have thought she was me.

-Are you sure it was him?

-Yeah, he called me Flip.

(Rebus) Mm.

Do you have a theory about these coffins?

About their significance?

(Miranda) In this context, no.

Do you want to know what I think?

-Sure.

-At the time the coffins were left on Arthur's Seat, stillbirths weren't registered.

And stillborn children weren't entitled to a proper burial.

Perhaps mothers left the coffins as symbolic interments for their children.

(Miranda) That's not bad.

I've got some stuff to do.

Tactful, as well as frighteningly bright.

Ah.

I'm fine.

(Rebus) You know, I was thinking, this injury, you may have to cancel the trip to America.

(laughs) Rebus, are you saying you don't want me to go?

No, no.

What?

Are you saying if I said, "Don't go," you wouldn't?

No.

No, I never said that.

(tense music) ♪ (saw whirring) ♪ (engine roaring) ♪ (saw whirring) (whirring continues) (clanking) ♪ (muffled whirring) (thwacking) ♪ What do you want?

To give you this.

♪ And this.

No!

♪ -Hello?

Sir James?

-Help!

Help!

Help me!

(groaning) ♪ (brakes squeaking) ♪ (bird squawking) ♪ (Rebus) You've had news of your father?

(Fiona) His arm is broken.

In shock, obviously, but he's strong.

He'll be all right.

(Rebus) These coffins, first Devlin, then your mother, now your father.

There has to be a reason for them.

I'm sure you're right, but they mean nothing to me.

You arrived shortly after the attack.

-What of it?

-Your arrival and Costello's departure must have been pretty close together.

(Rebus) You didn't see anything?

Don't you think I would have said if I had?

Did you?

(Fiona) No.

(eerie music) ♪ (Rebus) Siobhan?

♪ (police radio chatter) ♪ That paint could match Fiona Kollross's car.

♪ Have a look inside.

♪ (police radio chatter) ♪ (camera shutter clicking) ♪ It's very good of you to cooperate with us, Mrs. Kollross.

I think David Costello hit your car.

(Fiona) As I said, Inspector...

It happened while the vehicle was unattended.

(Rebus) As you said.

(printer whirring) -That was quick.

-Picture it.

There's me and the pointy heads with their gizmos-- excuse me-- all going on about how difficult it is to get around a password when I say for a joke, "Well, the guy's name was Costello, so why not try Abbott?"

-That was never it.

-It was.

There were the e-mails he sent to Phillippa Balfour.

There was also a draft message he'd yet to send.

Costello refers to the recipient as "M" and says, "Messed up on the old man.

Will try again."

"M." Costello's killer perhaps?

-Was there an address?

-No, just the draft message.

(Gill) I wonder why he didn't send it?

Maybe we were meant to find it.

Nothing like a bit of encouragement, affirmation.

And that was nothing like!

(door opening) -Sir?

-Just put it down there, would you?

This is the camper van stuff.

(paper rustling) There's no doubt the two vehicles collided.

"G-1936."

What the hell is that?

It says Costello's prints were found on it, as well as Jessica Hogarth's blood, suggesting he wrote it at the murder scene.

(suspenseful music) ♪ (telephone ringing) ♪ Siobhan... ♪ Fiona said her mother would only communicate through Scripture.

♪ "G-1936."

Genesis 19:36?

♪ Genesis.

♪ Nineteen.

♪ Sodom and Gomorrah.

♪ The destruction of Sodom and Gomorrah.

♪ Thirty-four, thirty-five.

Thirty-six.

♪ "Thus were both daughters of Lot with child by their father."

♪ Evidence from Jessica Hogarth's house, taken the day after Michael Kollross killed himself there.

6th of March, 1982.

Twenty-three years ago.

Two days before his wife had a son.

Stillborn.

(Gill) What if Costello is that child?

Uh-huh.

The baby wasn't stillborn.

They gave it away?

(Siobhan) And when he grows up, he wants to know why.

(Rebus) His first two victims died slowly.

Very slowly.

That gives him enough time to talk to them before they go.

Devlin tells him that Fiona is his mother.

What can Jessica tell him?

-Daddy's name.

-Here we are.

These are pages from Jessica's Bible scattered all over the floor.

Genesis Chapter 19, Verse... -Thirty-six.

-What?

"Thus were both the daughters of Lot with child by their father."

Incest.

If Fiona is Costello's mother, Sir James is his father.

Jessica knew about it.

That's why she left home.

Sent her mad.

Well, it would, wouldn't it?

(Gill) So does Sir James know who is behind the killings and why?

Well, if he does, he's not going to come to us and tell us about it, is he?

Fiona's car collided with the camper van.

We know that.

Why is she keeping quiet about it?

Daddy's orders?

Yes.

Always.

He was her abuser.

He still is.

She'll do as she's told.

So we're kept in the dark about the camper van.

Sir James goes off looking for it, finds it, kills Costello.

How did he do that with a busted arm?

True.

You have to firm this up.

(Rebus) Well, I've got Costello's DNA.

All we need is Fiona's.

(Gill) You think she'd cooperate?

Would Sir James allow it?

Well, then how?

No.

There will be no tricks, John.

No underhand schemes.

No subterfuge.

Nothing that is not written in the book.

-Do you understand?

-Yeah, but we need to be a hundred percent certain.

(Gill) You're damn right we do, but no tricks.

(telephone ringing) (Sir James) I won't let anything happen to you.

(Fiona) I know that.

(Rebus) Thank you for coming, Mrs. Kollross, Sir James.

-You did say it was important.

-It is.

It's been confirmed that your car came into contact with David Costello's camper van.

-So?

-And you can't remember how?

(Fiona) I told you, I don't know.

(Siobhan) Well, can you at least tell us when you noticed the damage to your car?

(Sir James) Why is this so important?

Costello is dead.

And I'm trying to catch his killer, Sir James, and knowing the movements prior to his death will help me in that endeavor.

(Fiona) I can't remember when I noticed the damage.

Well, of course, but, uh...

I think that's enough.

Fiona has given you all the help she can.

(door opening) (telephone ringing) Oh, ... -I beg your pardon.

-Nothing.

-I said no tricks.

-It's just a fag end.

I'm your superior officer.

I gave you strict instructions.

Superior officer?

You are a copper, first and last.

And remember, I could always tell when you said "no" but meant "yes."

Or maybe I can't tell.

(telephone ringing) (telephone ringing) Rebus.

Yeah.

Thank you.

...!

...!

...!

(clattering) (Siobhan) Better?

(sighing) David Costello and Fiona Kollross are certainly not related.

(telephone ringing) (Siobhan) So now what?

(Rebus) I was sure I was right.

Maybe you were partly right.

What if the mysterious "M" is the lost Hogarth and Costello was working for him?

If Devlin did switch babies, it would mean the woman who lost her child must have been confined at or about the same time as Fiona Kollross.

So, find her and you find "M." ♪ Put a form in for the phone, will you?

(baby crying) ♪ (Mr. Mayes) So, Inspector Rebus, what can I do you for?

(Rebus) Another list.

All the women who were confined at the same time as Fiona Kollross.

-Can you do that?

-Absolutely, no problem.

Follow me.

♪ All the names are on this list?

You couldn't have missed an original file when you put them on the computer?

Absolutely not.

I do not make mistakes.

And no one else has access to the files.

(Rebus) Excellent, Mr. Mayes.

♪ (Mr. Mayes) Well, there was Dr. Devlin, of course.

♪ (Rebus) What?

I told you at the funeral.

He came in and asked to have access to a file, said he was trying to trace an old patient.

♪ (Rebus) Trying to erase an old patient more like.

♪ (woman) Just watch that step.

That one's a bit tricky.

That's it.

-Isn't she beautiful?

-Twenty-three years later, Devlin alters the records.

Why?

(woman) Here we are, well done.

(Siobhan) He must know "M" is looking for his real parents.

"M" had been to see him?

"M" had been to see him and he wants to protect Sir James from scandal.

And himself.

Probably himself.

-Smile!

-We'll never know.

(woman) Oh, very good!

-There's another list.

-One more just to make sure.

♪ (Rebus) What?

♪ (Siobhan) There's another list.

♪ (woman) And smile!

♪ -Boyd.

-Here.

-Jenkins.

-Here.

-Purdie.

-Here.

-Moore.

-Yep.

(Rebus) Hold on, you missed one here.

Hmm?

Oh, no, I told you, Inspector, girls on the left.

-Now, you said a boy.

-This girl's dressed in blue.

(woman) Ah, now, the ultrasound will have said "boy."

-The family... -Balfour.

(woman) ...and Mom delivered a girl.

It happened.

There see you are, see.

"Mr. and Mrs. Balfour, baby Phillippa, born 8th of March, 1982."

♪ So, can I come in?

♪ I'll come back then.

Later.

♪ (door buzzing) ♪ (lock clicking) ♪ (telephone ringing) (Fiona) There's no one here to take your call.

Please leave a message.

(beep) (Rebus) Mrs. Kollross?

Inspector Rebus.

I need to talk to you.

I'll call you on the mobile.

(beeping) ♪ Hello, Mommy.

Or is it Mother?

What should I call you?

Fiona?

Maybe.

(cellphone ringing) (Phillippa) He wants to talk to you.

It'll be about me, I expect.

(woman) ...is not available.

-... -Move over!

(horn blaring) ... you too, you ...!

(Rebus) Mrs. Kollross, Inspector Rebus, I need to talk to you, it's important.

Call me when you get this.

She's running circles round us.

Costello's not going to the museum to stalk her.

He's out getting his bloody orders!

Well, it's perfect, if you want something done, get someone who's obsessed with you to do it.

(tense music) This is nice, isn't it?

♪ I like green tea, too.

♪ What do you want?

Mugs.

♪ In there.

♪ What if we'd caught him?

Who would you believe, him or her?

Military tactics, take a risk, but always have a Plan B.

-I'm sorry... -Oh, ... And when he outlived his usefulness, she killed him?

Yup.

Here, go left, go left, go left.

(tires squealing) -How did you... -Did I find you?

I found a photograph.

Me and Mom and Dad at that Templemount place, the rest was easy.

He made you give me away, didn't he?

No sugar, right?

I don't even know how you like your tea.

No.

(Phillippa) Was it terrible, what he did to you?

(Sir James) Who was it?

♪ Fiona?

Darling?

What's he doing here?

-He's here because... -Who's there?

(Fiona) There was a time when I thought it would stop, -but I couldn't.

-Fiona!

I love him.

No.

-No, what you... -Fiona!

-How could you love him?

-What's happening?

No, that's not right.

(Fiona) Don't do this.

Keeping you was... We had to give you away.

No.

No, Mommy, tell me that you didn't-- I'm not your mommy.

I'm your ... sister!

(intercom buzzing) ♪ Fiona!

What about me?

-What about me?

-What are you doing?

(Phillippa) You vile, sick, disgusting piece of work!

(Sir James) Stop that, stop it, stop it!

Go away!

Leave us alone.

(intercom buzzing) ♪ -What about me?

-No!

No!

(grunting) (crashing) ♪ (door buzzes open) ♪ (sobbing) (Siobhan) Sit down.

♪ Sit down.

♪ (sirens wail in distance) ♪ (police sirens wailing) ♪ (clock chiming) ♪ (indistinct chatter) (printer whirring) (jet engine roaring) (Miranda) Well, here we are.

(Rebus) Here we are.

(Miranda) I'm gonna miss you, Rebus.

(Rebus) Aye, but will you stay true to me?

(Miranda) Get real.

Kiss?

(melancholy music) ♪ Ciao.

♪ Safe journey.

♪ (plane engine whining) (somber music) ♪ (Siobhan) Okay?

(Rebus) Uh-huh.

♪ No, you're not.

(Rebus) Okay, I'm not.

♪ (Siobhan) The Oxford then, is it?

You're a mind-reader, Siobhan.

Very handy skill for a copper.

♪ (car door closing) (theme music) ♪ (bright music)