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1
00:00:01,300 --> 00:00:03,400
- Matt's mum just died.
- Take whatever time you need.
2
00:00:05,400 --> 00:00:08,500
Owen Quine. He's a very famous novelist.
3
00:00:08,500 --> 00:00:09,600
Who's that man?
4
00:00:09,600 --> 00:00:12,400
- He's helping us find Daddy.
- I want Daddy!
5
00:00:12,800 --> 00:00:16,100
The hero dies in exactly
the same way Quine did.
6
00:00:16,100 --> 00:00:18,100
It must be the grimmest
part of the book,
7
00:00:18,100 --> 00:00:19,800
and someone made him re-enact it.
8
00:00:21,100 --> 00:00:23,400
- What do you want?
- I've fired Owen.
9
00:00:23,400 --> 00:00:27,400
I am confident that Bombyx Mori
is not the work of one person.
10
00:00:27,400 --> 00:00:29,700
What does Quine allege about you both?
11
00:00:29,700 --> 00:00:31,500
In Andrew's case...
12
00:00:31,500 --> 00:00:34,400
he implies that Andrew himself
13
00:00:34,500 --> 00:00:36,000
wrote a nasty parody
14
00:00:36,100 --> 00:00:38,000
of his late wife's novel.
15
00:00:39,400 --> 00:00:41,800
We've got a suspect as well. The wife.
16
00:00:41,800 --> 00:00:43,900
I'll be home soon, Dodo.
17
00:00:44,800 --> 00:00:45,900
I promise.
18
00:00:51,400 --> 00:00:52,700
♪ You and me ♪
19
00:00:54,400 --> 00:00:57,200
♪ Me and you ♪
20
00:00:57,200 --> 00:01:01,300
♪ Somehow we made it through ♪
21
00:01:03,000 --> 00:01:05,500
♪ I may be gone ♪
22
00:01:05,500 --> 00:01:07,800
♪ I may be far away ♪
23
00:01:09,400 --> 00:01:11,600
♪ But I'll walk beside you ♪
24
00:01:12,900 --> 00:01:15,500
♪ Every step of the way ♪
25
00:01:17,000 --> 00:01:20,300
♪ When you're used, bruised ♪
26
00:01:21,400 --> 00:01:23,300
♪ Black and blue ♪
27
00:01:23,300 --> 00:01:25,900
♪ Don't think about it ♪
28
00:01:27,600 --> 00:01:30,200
♪ Never doubt it ♪
29
00:01:30,200 --> 00:01:32,800
♪ I'll walk beside you. ♪
30
00:01:32,800 --> 00:01:35,000
- sync and corrections by Mr. C -
- www.addic7ed.com -
31
00:01:35,900 --> 00:01:38,500
TV: Love is a... um...
32
00:01:39,000 --> 00:01:43,200
it's a mirage. It's a...
it's a delusion.
33
00:01:43,300 --> 00:01:45,000
For all your protests, Andrew, I thought
34
00:01:45,000 --> 00:01:48,400
your depiction of this
relationship was full of love.
35
00:01:48,400 --> 00:01:52,800
And brave, too, given your
proximity to the subject matter.
36
00:01:53,100 --> 00:01:55,300
You're referring to the
suicide of my first wife?
37
00:01:56,100 --> 00:01:57,100
Yes.
38
00:01:59,100 --> 00:02:01,600
So let me say this. Um...
39
00:02:05,800 --> 00:02:09,400
When Effigy died...
40
00:02:11,900 --> 00:02:13,900
I mean when Ellie died...
41
00:02:13,900 --> 00:02:15,600
look...
42
00:02:24,500 --> 00:02:26,100
(PHONE RINGS)
43
00:02:31,200 --> 00:02:33,200
It's me. Are you awake?
44
00:02:33,200 --> 00:02:34,500
I take it you caught the train?
45
00:02:34,500 --> 00:02:37,700
Yeah, and thanks for letting
me stay longer. Matt needs me.
46
00:02:37,700 --> 00:02:40,300
But listen, I've just seen a
programme with Andrew Fancourt.
47
00:02:40,300 --> 00:02:43,700
When he's asked about his first
wife, I swear he calls her Effigy.
48
00:02:53,500 --> 00:02:55,300
Effigy?
49
00:02:55,500 --> 00:02:57,800
Read your words aloud.
50
00:02:59,200 --> 00:03:02,200
"Her love for him was like that
of a pertinacious gudgeon."
51
00:03:02,200 --> 00:03:05,000
No! No! The words are no good!
52
00:03:05,000 --> 00:03:08,100
We must give her new words!
53
00:03:14,600 --> 00:03:16,700
(SHE SCREAMS)
54
00:03:28,200 --> 00:03:30,200
(REPORTERS ALL SPEAK AT ONCE)
55
00:03:32,900 --> 00:03:34,700
I think Leonora Quine is innocent.
56
00:03:36,100 --> 00:03:37,800
I'd bet my remaining leg on it.
57
00:03:39,200 --> 00:03:40,300
That's all I've got!
58
00:03:46,800 --> 00:03:48,100
(BUZZER SOUNDS)
59
00:04:01,200 --> 00:04:02,500
(LOCK CLICKS)
60
00:04:04,500 --> 00:04:06,300
Hello, Leonora.
61
00:04:06,300 --> 00:04:08,800
This is Ilsa Herbert.
She'll represent you.
62
00:04:10,100 --> 00:04:13,000
We have limited time so,
provided you feel able...?
63
00:04:13,000 --> 00:04:14,100
When can I go home?
64
00:04:16,200 --> 00:04:18,900
We do need to get
through some questions.
65
00:04:19,600 --> 00:04:23,500
Did anyone have keys for the
house on Talgarth Road?
66
00:04:23,500 --> 00:04:25,000
Andrew Fancourt.
67
00:04:25,000 --> 00:04:27,200
We had spares cut when there
was repairs on the roof
68
00:04:27,200 --> 00:04:28,500
but I can't find 'em.
69
00:04:28,500 --> 00:04:31,700
Did anyone else ever handle the keys?
Even for just a day?
70
00:04:31,700 --> 00:04:34,100
It got rented out sometimes,
71
00:04:34,100 --> 00:04:36,500
so I suppose there's people
who've been through there.
72
00:04:36,500 --> 00:04:38,500
That house has been a nightmare.
73
00:04:38,500 --> 00:04:41,700
We can't sell it and Andrew
makes sure nobody can make
74
00:04:41,700 --> 00:04:44,100
money off it, just cos
of him not liking Owen.
75
00:04:44,100 --> 00:04:46,500
In the end, Owen said
better to forget about it.
76
00:04:48,300 --> 00:04:50,700
Can we talk about the credit card?
77
00:04:50,700 --> 00:04:54,000
I told 'em I don't know
anything about any of that!
78
00:04:54,000 --> 00:04:56,100
A burqa, ropes and overalls...
79
00:04:56,100 --> 00:04:59,200
all bought six months ago
on your family credit card
80
00:04:59,200 --> 00:05:01,500
and delivered to the
house on Talgarth Road.
81
00:05:03,800 --> 00:05:08,500
Is there a scenario where your
husband might have bought
82
00:05:08,500 --> 00:05:10,500
these things for himself?
83
00:05:12,800 --> 00:05:14,500
I don't know, erm...
84
00:05:14,500 --> 00:05:16,100
The ropes, maybe...
85
00:05:16,400 --> 00:05:17,900
He liked being tied up.
86
00:05:19,500 --> 00:05:21,800
He just told me what
to pay off and I did.
87
00:05:21,800 --> 00:05:23,500
I never went over things with him.
88
00:05:24,700 --> 00:05:27,800
Did Owen ever discuss
Bombyx Mori with you?
89
00:05:27,800 --> 00:05:29,500
He said it was going to be a book
90
00:05:29,500 --> 00:05:31,700
about how a silkworm gets boiled alive,
91
00:05:31,700 --> 00:05:34,500
like he has been by the critics.
That's it.
92
00:05:36,000 --> 00:05:40,000
The prosecution will use that
as evidence that you were
93
00:05:40,000 --> 00:05:43,500
aware of elements of the manuscript.
94
00:05:44,900 --> 00:05:46,400
How is this helping?
95
00:05:46,400 --> 00:05:48,500
Ilsa's just doing her job.
96
00:05:48,500 --> 00:05:51,400
I answered all these
questions already, though.
97
00:05:51,400 --> 00:05:53,100
The police have a different agenda.
98
00:05:53,100 --> 00:05:55,900
I'm asking you these questions to
try to keep you out of prison.
99
00:05:55,900 --> 00:05:58,300
Well, I didn't do nothing!
That's enough, in't it?
100
00:05:58,300 --> 00:06:00,100
The ugly truth is it might not be.
101
00:06:00,100 --> 00:06:02,500
What's she mean, "it might not be"?
What's that about?
102
00:06:02,500 --> 00:06:04,200
- Look, we need to...
- You shut up!
103
00:06:04,200 --> 00:06:05,600
I know him. I don't know you!
104
00:06:06,900 --> 00:06:10,000
You were supposed to keep me out of here.
You promised.
105
00:06:10,000 --> 00:06:14,000
Ilsa's a friend. She's good
at her job, I trust her.
106
00:06:14,000 --> 00:06:17,300
You need to trust her too.
I know you're frustrated.
107
00:06:17,300 --> 00:06:20,000
I know you're scared.
But we're on your side.
108
00:06:23,900 --> 00:06:25,800
I just want my Dodo!
109
00:06:46,900 --> 00:06:48,900
(PHONE RINGS)
110
00:06:54,100 --> 00:06:57,100
Robin's phone, Matt speaking.
Can I take a message?
111
00:07:00,400 --> 00:07:02,000
Sorry... did you say mud?
112
00:07:12,300 --> 00:07:14,100
You OK?
113
00:07:16,300 --> 00:07:19,300
You got a call about extra
cleaning for a car you hired?
114
00:07:20,700 --> 00:07:22,500
- Oh, er...
- What's that about?
115
00:07:24,100 --> 00:07:26,700
I, er, had to drive a
hire car last week.
116
00:07:26,700 --> 00:07:27,800
Where?
117
00:07:29,900 --> 00:07:31,300
Er... Down to Devon.
118
00:07:32,800 --> 00:07:35,800
We had to interview a suspect
and Cormoran can't drive so...
119
00:07:35,800 --> 00:07:39,600
So that's why you couldn't
help arrange my mum's funeral?
120
00:07:39,600 --> 00:07:41,100
You were being his taxi?
121
00:07:44,600 --> 00:07:45,600
No, I...
122
00:07:54,900 --> 00:07:56,600
(DOOR SLAMS)
123
00:07:57,900 --> 00:08:02,500
It looks bad. Access, motive,
this credit card thing...
124
00:08:02,500 --> 00:08:03,600
PHONE CHIMES
125
00:08:03,600 --> 00:08:06,100
And the way she talks to the
police, she's her own worst enemy.
126
00:08:06,100 --> 00:08:08,800
All the credit card proves
is that she's being framed.
127
00:08:12,300 --> 00:08:14,300
Corm? Everything all right?
128
00:08:21,100 --> 00:08:24,500
It's fine. Just Charlotte.
129
00:08:25,400 --> 00:08:27,000
No relapsing.
130
00:08:27,000 --> 00:08:30,600
Yeah, Nick was clear about that as well.
131
00:08:30,600 --> 00:08:31,700
I'm fine.
132
00:08:34,400 --> 00:08:36,100
(DOORBELL RINGS)
133
00:08:43,100 --> 00:08:45,300
I need to talk to you.
134
00:08:45,300 --> 00:08:47,900
Is it more headlines about me
locking up the wrong person?
135
00:08:47,900 --> 00:08:49,100
That wasn't very helpful.
136
00:08:49,100 --> 00:08:51,700
The headline I have just read
says "Wife accused of murder
137
00:08:51,700 --> 00:08:53,100
"trained as butcher."
138
00:08:53,100 --> 00:08:54,700
She's being framed, Rich.
139
00:08:54,700 --> 00:08:57,500
Just ask yourself... are you
saying she's clever enough to put
140
00:08:57,500 --> 00:09:00,800
together this complicated murder,
leaving nothing for forensics,
141
00:09:00,800 --> 00:09:03,500
no useful witnesses, no
credible leads, nothing...
142
00:09:03,500 --> 00:09:07,400
but also stupid enough to put her
disguise on the credit card?
143
00:09:07,400 --> 00:09:10,500
Bob, I like you as a man
and I owe you my life,
144
00:09:10,500 --> 00:09:12,000
and that goes a long way.
145
00:09:12,000 --> 00:09:14,900
But on this one, you're
just plain wrong, mate.
146
00:09:14,900 --> 00:09:17,600
Andrew Fancourt had a
key to the property.
147
00:09:17,600 --> 00:09:21,300
Andrew Fancourt hated Quine long
before this manuscript came out.
148
00:09:21,300 --> 00:09:23,100
Why aren't you knocking on his door?
149
00:09:24,500 --> 00:09:27,200
I'm going to chalk this up to
you having a bad day, Bob.
150
00:09:54,300 --> 00:09:56,500
I thought you were meant to
be at the British Library.
151
00:09:56,500 --> 00:09:59,900
I was, but... plans changed,
152
00:09:59,900 --> 00:10:02,200
and then the seats on the
earlier trains were booked.
153
00:10:02,200 --> 00:10:04,500
Worst case scenario... it'd
be two hours standing up.
154
00:10:04,500 --> 00:10:07,000
I used to do that all the
time coming to visit you.
155
00:10:08,400 --> 00:10:11,200
I'd sit in the gangway...
156
00:10:11,200 --> 00:10:12,300
because it was you.
157
00:10:13,900 --> 00:10:16,000
Because you were in a shitty
place and I loved you.
158
00:10:16,000 --> 00:10:17,000
I know.
159
00:10:22,300 --> 00:10:23,400
I should have come sooner.
160
00:10:23,400 --> 00:10:26,600
I don't want your boss
anywhere near our wedding.
161
00:10:26,600 --> 00:10:29,200
If he can't even let you off for
a day or two when my mum dies,
162
00:10:29,200 --> 00:10:30,300
what kind of a man is he?
163
00:10:30,300 --> 00:10:31,700
Matt, er...
164
00:10:36,900 --> 00:10:39,900
..this wasn't Cormoran's fault.
165
00:10:39,900 --> 00:10:41,200
Eh...
166
00:10:45,700 --> 00:10:47,100
It was my decision to stay.
167
00:10:55,300 --> 00:10:58,900
I've wanted to be an investigator
for as long as I can remember.
168
00:10:58,900 --> 00:11:02,200
It's the whole reason that I studied
psychology in the first place.
169
00:11:03,300 --> 00:11:06,100
And then...
170
00:11:06,100 --> 00:11:08,600
for years I felt like that
had been taken away...
171
00:11:11,600 --> 00:11:13,400
..but now I've got a chance.
172
00:11:13,400 --> 00:11:16,600
I know you don't like it, and that...
173
00:11:18,700 --> 00:11:20,400
I think that's why I lied to you.
174
00:11:20,400 --> 00:11:22,600
And I am sorry.
175
00:11:22,600 --> 00:11:25,700
I am so sorry,
176
00:11:25,700 --> 00:11:29,100
because I should have
been here for you, but...
177
00:11:35,300 --> 00:11:36,800
..I don't want to lose this.
178
00:11:44,300 --> 00:11:45,900
Of course I want you to be happy.
179
00:11:53,900 --> 00:11:56,300
I am so, so, sorry I wasn't here sooner.
180
00:11:59,000 --> 00:12:01,700
Well, let's just settle and
say it couldn't be helped.
181
00:12:09,900 --> 00:12:11,900
When are you going back?
182
00:12:15,400 --> 00:12:18,900
So, how was your case?
183
00:12:19,900 --> 00:12:22,600
I don't know. Ilsa, how's my case?
184
00:12:23,800 --> 00:12:27,700
Well, if you're trying to keep her
out of prison, pretty terrible.
185
00:12:29,300 --> 00:12:31,900
- Met her daughter yet?
- No.
186
00:12:31,900 --> 00:12:35,200
Sweet kid. Not really
built for this world.
187
00:12:35,200 --> 00:12:37,100
I think the neighbour
is struggling with her.
188
00:12:37,100 --> 00:12:38,800
Are social services involved yet?
189
00:13:03,100 --> 00:13:06,000
(BUZZING)
190
00:13:20,200 --> 00:13:21,900
It's Sunday.
191
00:13:21,900 --> 00:13:23,300
I know.
192
00:13:23,300 --> 00:13:26,200
I think we should start taking a
closer look at Andrew Fancourt,
193
00:13:26,200 --> 00:13:28,200
don't you?
194
00:13:28,200 --> 00:13:31,700
Well, I haven't come in at the
weekend to pay the utility bills.
195
00:13:31,700 --> 00:13:33,500
I've got his address... let's go.
196
00:13:35,900 --> 00:13:39,400
Britain's most celebrated
novelist stripping out of a burqa
197
00:13:39,400 --> 00:13:40,900
on a London side street?
198
00:13:40,900 --> 00:13:43,300
He could have just worn it
to get off Talgarth Road,
199
00:13:43,300 --> 00:13:45,800
- then changed in a car or something.
- Yeah.
200
00:13:45,800 --> 00:13:47,500
Let's take a look in there,
201
00:13:47,500 --> 00:13:49,800
see if he could have buried
the guts round the back.
202
00:13:55,900 --> 00:13:58,200
(LOCKS RATTLE)
203
00:13:58,200 --> 00:13:59,700
Do you want to give me a leg-up?
204
00:13:59,700 --> 00:14:01,200
No. No. No, I'll be all right.
205
00:14:05,900 --> 00:14:07,900
Well, he's not burying anything in here.
206
00:14:10,300 --> 00:14:12,400
Ah! Shit!
207
00:14:12,400 --> 00:14:14,400
- Are you all right?
- Shit.
208
00:14:14,400 --> 00:14:16,100
Fucker doesn't bend.
209
00:14:16,100 --> 00:14:17,500
Christ.
210
00:14:17,500 --> 00:14:19,100
I'm fine.
211
00:14:19,100 --> 00:14:20,400
OK, lean on me.
212
00:14:20,400 --> 00:14:21,600
No, no, I'm fine.
213
00:14:21,600 --> 00:14:24,300
Well, you're obviously not. Just
put your weight on my shoulder.
214
00:14:24,300 --> 00:14:25,900
There's a pub round the corner.
215
00:14:27,300 --> 00:14:29,500
- Bribery?
- Motivation.
216
00:14:29,500 --> 00:14:31,000
I'm sorry, Robin.
217
00:14:31,000 --> 00:14:32,700
We didn't need this.
218
00:14:32,700 --> 00:14:34,300
Just say if you need to stop.
219
00:14:57,400 --> 00:15:00,300
The amount of stuff you're meant
to do it to keep it healthy...
220
00:15:00,300 --> 00:15:02,200
powders and creams and baths...
221
00:15:04,100 --> 00:15:05,500
Happy birthday.
222
00:15:07,500 --> 00:15:09,200
How did you know?
223
00:15:09,200 --> 00:15:11,900
I know your passport
number by heart as well.
224
00:15:11,900 --> 00:15:15,300
Many happy returns, Mr
Cormoran Blue Strike.
225
00:15:18,700 --> 00:15:20,500
Are you going to tell
me where that's from?
226
00:15:20,500 --> 00:15:21,700
Nope.
227
00:15:25,300 --> 00:15:26,700
I got you something.
228
00:15:31,300 --> 00:15:33,900
It's billed as the Taste of Cornwall.
229
00:15:33,900 --> 00:15:35,900
But you can be the judge of that.
230
00:15:43,400 --> 00:15:46,500
I grew up two miles from where
this is made. It's good.
231
00:15:47,700 --> 00:15:48,700
Good.
232
00:15:50,600 --> 00:15:51,900
Robin, this is...
233
00:15:53,100 --> 00:15:54,200
I like it.
234
00:15:55,500 --> 00:15:57,500
- Thank you.
- You're welcome.
235
00:16:05,000 --> 00:16:07,500
Made with Cornish cows' milk.
236
00:16:07,500 --> 00:16:10,900
Eating nothing but Cornish
grass and looking at Cornwall.
237
00:16:13,700 --> 00:16:17,600
This is exactly what the whole
of Cornwall tastes like.
238
00:16:19,200 --> 00:16:22,300
Fancourt lives near Hampstead Heath.
It's a cruising ground.
239
00:16:22,300 --> 00:16:25,200
Easy for him to go in the wood at
night without raising suspicion.
240
00:16:25,200 --> 00:16:28,100
- Could have buried the guts in there.
- Have the police checked him over?
241
00:16:28,100 --> 00:16:30,600
They won't. They've got Leonora.
242
00:16:30,600 --> 00:16:33,000
But Fancourt's in Bombyx Mori.
You'd have thought...
243
00:16:33,000 --> 00:16:35,100
I'm not sure the Met's
literary criticism unit
244
00:16:35,100 --> 00:16:36,500
was brought in on this one.
245
00:16:37,500 --> 00:16:41,300
He's certainly got the
imagination for it.
246
00:16:41,300 --> 00:16:43,500
Lots of the profile
pieces you read on him
247
00:16:43,500 --> 00:16:45,200
talk about how he writes violence.
248
00:16:46,800 --> 00:16:48,700
I'd like to find Fancourt tomorrow.
249
00:16:49,900 --> 00:16:52,300
Will your leg be all right for that?
250
00:16:52,300 --> 00:16:54,100
Yeah, it'll be fine.
251
00:17:03,500 --> 00:17:05,700
(DOOR OPENS)
252
00:17:07,600 --> 00:17:09,300
My morning's free after all.
253
00:17:09,300 --> 00:17:11,800
Why?
254
00:17:13,200 --> 00:17:14,800
I could tail Fancourt.
255
00:17:16,400 --> 00:17:17,700
You haven't been trained.
256
00:17:17,700 --> 00:17:20,000
I want to do it. I'll be careful.
257
00:17:21,100 --> 00:17:23,900
And Liz Tassel has agreed to
talk to you about Fancourt.
258
00:17:23,900 --> 00:17:26,100
It'll be a lunch so
you'll be sitting down.
259
00:17:46,800 --> 00:17:48,300
Just a water.
260
00:17:49,900 --> 00:17:51,200
How's Leonora?
261
00:17:53,300 --> 00:17:54,700
Well, she's been arrested.
262
00:17:54,700 --> 00:17:56,100
Yes.
263
00:17:56,100 --> 00:17:57,900
So, as you'd expect.
264
00:17:57,900 --> 00:18:02,000
Orlando's half the
reason I kept Owen on.
265
00:18:02,000 --> 00:18:03,700
I hope she'll be looked after.
266
00:18:03,700 --> 00:18:06,000
I don't think they
have any other family.
267
00:18:06,000 --> 00:18:08,200
Yes, well, she won't be
left to starve, will she?
268
00:18:08,200 --> 00:18:11,200
This is England. We're
still halfway civilised.
269
00:18:11,200 --> 00:18:13,600
The Quines barely have anything.
270
00:18:17,300 --> 00:18:19,700
I've had to give them a lot
of help over the years.
271
00:18:54,900 --> 00:18:57,100
Can we talk about Andrew Fancourt?
272
00:18:57,100 --> 00:19:00,100
- Why?
- I gather he and Quine fell out.
273
00:19:00,100 --> 00:19:02,400
That was a long time ago.
274
00:19:02,400 --> 00:19:04,900
You were all friends together
once, is that right?
275
00:19:04,900 --> 00:19:07,100
I represented them both.
276
00:19:07,100 --> 00:19:09,800
Must have been quite a coup to
have Andrew Fancourt as a client.
277
00:19:09,800 --> 00:19:13,600
Well, he hadn't won any major
prizes when I took him on.
278
00:19:13,600 --> 00:19:15,900
We were... friends.
279
00:19:15,900 --> 00:19:17,900
Back then we both wrote,
280
00:19:17,900 --> 00:19:20,900
but of course he became Andrew
Fancourt and I stopped.
281
00:19:22,200 --> 00:19:27,000
Andrew called my efforts
"lamentably derivative".
282
00:19:29,100 --> 00:19:30,500
No doubt correctly.
283
00:19:33,000 --> 00:19:35,400
Why did he leave your agency?
284
00:19:35,400 --> 00:19:38,500
Because Owen wrote a
parody of his wife's novel
285
00:19:38,500 --> 00:19:40,100
and I refused to sack him over it.
286
00:19:40,100 --> 00:19:43,700
I abhor censorship and I
dislike being threatened.
287
00:19:43,700 --> 00:19:45,800
Andrew forced me to choose and so I did.
288
00:19:48,000 --> 00:19:51,400
But after Fancourt's wife killed
herself over that parody,
289
00:19:51,400 --> 00:19:52,500
didn't you...?
290
00:19:52,500 --> 00:19:54,500
Anyone who kills herself
over a little criticism
291
00:19:54,500 --> 00:19:56,900
has no business writing.
292
00:19:56,900 --> 00:20:00,100
Do you know, do you know how many
people think they can write?
293
00:20:00,100 --> 00:20:06,400
Mountains of dreck and billions of
wasted hours. Ellie Fancourt had...
294
00:20:08,300 --> 00:20:11,600
Or Andrew at least read
the work and stopped it.
295
00:20:11,600 --> 00:20:14,100
Roper only published
it as a sop to Andrew.
296
00:20:14,100 --> 00:20:15,700
Did her no favours.
297
00:20:15,700 --> 00:20:20,300
Andrew and I haven't had a
relationship for a very long time.
298
00:22:25,300 --> 00:22:28,700
This parody of Ellie Fancourt's
novel, why did Quine write it?
299
00:22:30,700 --> 00:22:32,400
You're asking the wrong person.
300
00:22:32,400 --> 00:22:34,300
But if he and Fancourt were friends...
301
00:22:34,300 --> 00:22:36,900
They were never really friends.
302
00:22:36,900 --> 00:22:38,500
Andrew tolerated Owen.
303
00:22:39,700 --> 00:22:42,200
He was an amusing dirty joke.
304
00:22:42,200 --> 00:22:44,500
Did Owen dislike Andrew?
305
00:22:44,500 --> 00:22:46,200
Envied him, probably.
306
00:22:47,700 --> 00:22:50,700
Did you ever regret choosing to
keep Quine on instead of Fancourt?
307
00:22:50,700 --> 00:22:53,800
- Given that Fancourt...
- I never regretted it.
308
00:22:53,800 --> 00:22:56,200
I regret that Andrew
forced me to choose.
309
00:22:58,100 --> 00:23:00,000
I gather you were once in love with him.
310
00:23:06,900 --> 00:23:09,800
You seem to have very thoroughly
raked over all our lives.
311
00:23:11,500 --> 00:23:14,800
Is there anything you
actually want to ask me,
312
00:23:14,800 --> 00:23:18,100
or have you asked me here to watch
me suffer over old memories?
313
00:23:18,100 --> 00:23:19,600
I'm sorry...
314
00:23:19,600 --> 00:23:22,000
Well, what is the point
of asking me that?
315
00:23:23,200 --> 00:23:25,300
I have been...
316
00:23:25,300 --> 00:23:27,500
I have been disappointed many times.
317
00:23:28,800 --> 00:23:30,300
By Andrew, by others.
318
00:23:31,500 --> 00:23:33,700
I live alone with a dog
who is on his last legs.
319
00:23:35,500 --> 00:23:38,400
What are you actually gaining by
pointing out these failings of mine?
320
00:23:38,400 --> 00:23:40,900
- I'm sorry if I...
- Rubbish.
321
00:23:42,700 --> 00:23:47,200
I had at least taken comfort
in building a business...
322
00:23:48,900 --> 00:23:50,900
..but Quine has damaged that too.
323
00:23:50,900 --> 00:23:53,900
I have h... I have had it...
324
00:23:57,700 --> 00:23:58,900
I don't deserve this.
325
00:24:00,300 --> 00:24:01,700
I'm sorry for upsetting you.
326
00:24:02,800 --> 00:24:04,800
I promise you I'm only
trying to help Leonora.
327
00:24:04,800 --> 00:24:06,100
You ask too much of people.
328
00:24:07,500 --> 00:24:08,700
You are cruel.
329
00:24:29,100 --> 00:24:32,700
So this is the parody that Quine
wrote of Ellie Fancourt's novel.
330
00:24:34,100 --> 00:24:36,900
It was taped to her grave.
Somebody's taunting him.
331
00:24:36,900 --> 00:24:39,700
Or blackmailing him if they've
got proof Fancourt killed Quine.
332
00:24:39,700 --> 00:24:41,800
That's bloody good work, Robin.
333
00:24:41,800 --> 00:24:43,700
Oh, it wasn't really. I messed up loads.
334
00:24:43,700 --> 00:24:46,200
I lost track of him and then
he walked right past me.
335
00:24:46,200 --> 00:24:47,800
Well, some training will help.
336
00:25:04,900 --> 00:25:06,700
- Matt?
- I'm in here.
337
00:25:12,500 --> 00:25:13,900
Just finishing up.
338
00:25:16,400 --> 00:25:18,100
Wow.
339
00:25:20,700 --> 00:25:22,000
Thanks.
340
00:25:22,000 --> 00:25:24,700
Have you ever tried to iron a dress?
341
00:25:24,700 --> 00:25:26,000
There's no right angles.
342
00:25:27,100 --> 00:25:29,400
Well, that's the problem
with breasts for you.
343
00:25:35,200 --> 00:25:37,300
This is excellent work.
344
00:25:37,300 --> 00:25:39,900
I'd forgotten it's sort of...
sort of calming.
345
00:25:54,500 --> 00:25:56,500
Do you want to do a box-set later?
346
00:25:58,400 --> 00:26:00,800
Actually, I've got to work.
347
00:26:00,800 --> 00:26:03,000
There's someone we need to speak to.
348
00:26:03,000 --> 00:26:05,000
Tonight is our only opportunity.
349
00:26:05,000 --> 00:26:07,300
Sorry... if I had known
you were coming back
350
00:26:07,300 --> 00:26:10,500
I'd have tried to get out of it.
351
00:26:11,700 --> 00:26:13,000
Can we do it tomorrow?
352
00:26:15,000 --> 00:26:16,000
No problem.
353
00:26:27,200 --> 00:26:29,000
We're guests of Daniel Chard.
354
00:26:29,000 --> 00:26:31,000
Cormoran Strike plus one.
355
00:26:35,600 --> 00:26:38,400
Plus one? He's not keen on me, is he?!
356
00:26:51,600 --> 00:26:53,700
They moan about declining book sales,
357
00:26:53,700 --> 00:26:56,200
but everyone I've met so far
in publishing either has
358
00:26:56,200 --> 00:26:58,600
a drink in their hand or
will only meet for lunch.
359
00:27:00,000 --> 00:27:01,500
It's not a bad life, is it?
360
00:27:22,100 --> 00:27:23,600
When's Matthew back?
361
00:27:23,600 --> 00:27:24,700
He's back already.
362
00:27:28,400 --> 00:27:29,800
A party where I can smoke...
363
00:27:37,000 --> 00:27:38,900
Oh, thank you.
364
00:27:38,900 --> 00:27:40,500
I should have brought a cardie.
365
00:27:46,100 --> 00:27:48,700
(GLASS TINKLES)
366
00:27:54,100 --> 00:27:59,100
During a period of rapid change
in the world of publishing...
367
00:28:00,300 --> 00:28:02,900
..one fact remains...
368
00:28:02,900 --> 00:28:04,200
indisputably true.
369
00:28:05,300 --> 00:28:10,100
Work with great writers, and
your readers WILL come.
370
00:28:10,100 --> 00:28:11,500
- That's right.
- Yeah.
371
00:28:11,500 --> 00:28:14,500
In that vein, tonight,
372
00:28:14,500 --> 00:28:19,700
I am delighted to announce that
perhaps the most-garlanded novelist
373
00:28:19,700 --> 00:28:24,300
in England is returning to
Roper Chard after 20 years.
374
00:28:25,900 --> 00:28:29,000
Ladies and gentlemen, Andrew Fancourt!
375
00:28:29,000 --> 00:28:31,100
APPLAUSE
376
00:28:31,100 --> 00:28:33,700
- The man himself.
- Thanks, for that. Thanks, everyone.
377
00:28:33,700 --> 00:28:37,600
Er, it's good to be back,
it feels like a homecoming.
378
00:28:39,200 --> 00:28:42,300
Um, I wrote for Chard, and
then I wrote for Roper...
379
00:28:43,700 --> 00:28:45,500
They were good days.
380
00:28:45,500 --> 00:28:48,900
I was an angry young man.
Now I'm an angry old man.
381
00:28:48,900 --> 00:28:50,700
(CHUCKLING)
382
00:28:53,000 --> 00:28:55,200
I look forward to raging for you.
383
00:28:55,200 --> 00:28:57,100
(APPLAUSE)
384
00:29:03,900 --> 00:29:06,000
- Shall we mingle?
- Yeah.
385
00:29:25,900 --> 00:29:29,400
I see you're struggling
to choose a drink.
386
00:29:29,900 --> 00:29:33,000
I can tell you the champagne won't
kill you... I picked it out.
387
00:29:34,900 --> 00:29:36,700
Well, that's what I'll have, then.
388
00:29:38,900 --> 00:29:40,700
Champagne, twice.
389
00:29:44,300 --> 00:29:47,300
I'm going to ask you perhaps
the most provocative question
390
00:29:47,300 --> 00:29:50,700
you can be asked at one
of these things...
391
00:29:50,700 --> 00:29:52,400
Read anything good lately?
392
00:29:54,400 --> 00:29:58,100
Well, actually, the last
thing I read, if I'm honest,
393
00:29:58,100 --> 00:29:59,800
was Bombyx Mori.
394
00:30:01,200 --> 00:30:06,300
Owen Quine returns to his true metier...
the poison pen letter.
395
00:30:08,900 --> 00:30:10,700
What did you think of MY depiction?
396
00:30:12,500 --> 00:30:14,600
Have you read it?
397
00:30:14,600 --> 00:30:16,200
I've been told about it.
398
00:30:20,200 --> 00:30:23,900
Owen was a very minor writer
with a very large ego.
399
00:30:26,100 --> 00:30:30,000
This conversation would
have pleased him...
400
00:30:30,000 --> 00:30:31,500
enormously.
401
00:30:33,900 --> 00:30:35,800
Can I introduce you to someone?
402
00:30:36,800 --> 00:30:38,200
Sure.
403
00:30:52,200 --> 00:30:55,200
Cormoran Strike, this
is Andrew Fancourt.
404
00:30:59,100 --> 00:31:03,700
The one-legged detective. I've
read about you, Mr Strike.
405
00:31:03,700 --> 00:31:06,100
I've been looking into
Owen Quine's death.
406
00:31:06,100 --> 00:31:08,000
I was hoping we'd have a chance to talk.
407
00:31:08,000 --> 00:31:10,000
Well. Here we are.
408
00:31:11,000 --> 00:31:13,900
And may I commend you
on your choice of bait.
409
00:31:13,900 --> 00:31:17,200
Consider me utterly reeled in.
410
00:31:18,300 --> 00:31:22,100
Being a co-owner, you must have
run into Quine at Talgarth Road?
411
00:31:22,100 --> 00:31:23,800
I haven't been there in ten years.
412
00:31:23,800 --> 00:31:26,600
You inherited it from
your friend, Joe North.
413
00:31:26,600 --> 00:31:30,100
Losing a friend and your wife in the
same year... that must have hurt.
414
00:31:30,100 --> 00:31:31,500
I didn't lose my wife.
415
00:31:31,500 --> 00:31:34,000
I tripped over her body in
the dark of our kitchen.
416
00:31:36,500 --> 00:31:39,900
Did you ever confront Quine
about the parody he wrote?
417
00:31:39,900 --> 00:31:42,200
- No.
- But you're sure he wrote it?
418
00:31:42,200 --> 00:31:44,900
- I am, yes.
- Could anyone corroborate that?
419
00:31:44,900 --> 00:31:46,700
Do you have a spare one of those?
420
00:31:50,800 --> 00:31:55,500
I gather your ex-fiancee
is about to get married?
421
00:31:55,500 --> 00:31:59,200
You prop her up as a footnote
in articles about her.
422
00:31:59,200 --> 00:32:01,000
It's high praise.
423
00:32:03,200 --> 00:32:07,600
Tell me, are you attracted
to troubled women,
424
00:32:07,600 --> 00:32:10,100
or do they become
troubled because of you?
425
00:32:12,100 --> 00:32:14,400
Perhaps I should ask you.
426
00:32:14,400 --> 00:32:15,900
Oh, we just work together.
427
00:32:18,100 --> 00:32:20,900
Why would Quine use
Bombyx to deny he wrote
428
00:32:20,900 --> 00:32:22,500
the parody of your wife's work?
429
00:32:22,500 --> 00:32:24,700
It was 30 years ago.
Surely the damage is done.
430
00:32:24,700 --> 00:32:27,300
Ellie thought that if
she married a writer,
431
00:32:27,300 --> 00:32:30,800
it would change the way
the world saw her.
432
00:32:30,800 --> 00:32:33,700
When that failed, she tried
being a writer herself.
433
00:32:33,700 --> 00:32:37,400
Now, Quine saw himself reflected in her.
434
00:32:38,500 --> 00:32:41,200
Most writers aren't very
imaginative, Mr Strike.
435
00:32:42,500 --> 00:32:45,300
They end up writing about themselves.
436
00:32:45,300 --> 00:32:48,900
Quine, like Ellie, was a failed
writer, struggling to gain
437
00:32:48,900 --> 00:32:53,000
some status through writing,
but perennially in my shadow.
438
00:32:54,900 --> 00:32:56,800
Take care, Mr Strike.
439
00:33:00,900 --> 00:33:02,700
Miss Bait.
440
00:33:34,000 --> 00:33:36,100
- Hi.
- Hi.
441
00:33:39,900 --> 00:33:42,700
- Robin.
- Hi, come in. Through you go.
442
00:33:51,500 --> 00:33:55,600
So, yes, do, er, have a seat.
443
00:33:55,600 --> 00:33:59,600
- Er, do you want a coffee?
- I'm all right, thanks.
444
00:34:01,500 --> 00:34:04,700
- Thank you for seeing us.
- Oh, yes, anything for Owen.
445
00:34:04,700 --> 00:34:07,200
Ha! Bastard!
446
00:34:09,700 --> 00:34:11,900
I tried to catch you at
the Roper Chard party,
447
00:34:11,900 --> 00:34:14,800
but you disappeared after
Fancourt's speech.
448
00:34:14,800 --> 00:34:15,800
Yes.
449
00:34:19,100 --> 00:34:22,200
What do you think of Andrew Fancourt?
450
00:34:22,200 --> 00:34:24,300
- Oh, me personally?
- Yes.
451
00:34:24,300 --> 00:34:27,800
Oh, terrific writer, absolute
shit of a human being.
452
00:34:27,800 --> 00:34:31,200
- Have you read Bombyx?
- Yeah, we both have.
453
00:34:31,200 --> 00:34:33,100
But you've spoken to people about it?
454
00:34:33,100 --> 00:34:35,100
You know what it all means, and so on?
455
00:34:35,100 --> 00:34:37,400
I didn't recognise you in it.
456
00:34:37,400 --> 00:34:40,300
Oh, I'm the Cutter. An editor, you see.
457
00:34:40,300 --> 00:34:41,200
Ah.
458
00:34:41,200 --> 00:34:44,700
But for my cameo, Quine
dusted down the old rumour
459
00:34:44,700 --> 00:34:47,100
that Fancourt had fathered my daughter.
460
00:34:48,200 --> 00:34:50,600
Cheers, Owen! Rest in peace, old boy.
461
00:34:50,600 --> 00:34:53,700
It must have hurt, what
he said about you.
462
00:34:54,800 --> 00:34:58,000
Well, if you want lifelong
camaraderie, you join the Army.
463
00:34:58,000 --> 00:35:02,000
If you want peers who'll glory in
your failure, work with novelists.
464
00:35:02,000 --> 00:35:04,000
No loyalty.
465
00:35:06,800 --> 00:35:08,400
No, of course it hurt me.
466
00:35:10,400 --> 00:35:14,200
Well, anyway, I'm going to have a drink.
467
00:35:14,200 --> 00:35:18,300
Um, precious little to be sober for
this afternoon. You'll join me?
468
00:35:19,300 --> 00:35:20,800
What's under consideration?
469
00:35:20,800 --> 00:35:22,500
Oh, I think a Barolo.
470
00:35:22,500 --> 00:35:24,100
Sounds great.
471
00:35:24,100 --> 00:35:25,900
Good man!
472
00:35:25,900 --> 00:35:27,300
Bit early, isn't it?
473
00:35:27,300 --> 00:35:29,500
It'll help him feel we're on his side.
474
00:35:31,100 --> 00:35:34,200
- And I like Barolo.
- Right.
475
00:35:43,000 --> 00:35:45,300
I was talking to Liz Tassel yesterday.
476
00:35:45,300 --> 00:35:47,700
I hope you met her on a good day.
She can be an utter bitch.
477
00:35:52,500 --> 00:35:57,300
Ah, here's to new-found... candour!
478
00:36:06,800 --> 00:36:10,500
Liz made a pass at
Andrew after Ellie died.
479
00:36:10,500 --> 00:36:14,100
And Andrew told me at
the time that he saw it
480
00:36:14,100 --> 00:36:17,600
as a badge of honour that he
couldn't get it up for her!
481
00:36:17,600 --> 00:36:19,300
Prick!
482
00:36:19,300 --> 00:36:21,700
Funnily enough, she didn't
tell me that story.
483
00:36:21,700 --> 00:36:23,500
No, I don't imagine she did!
484
00:36:24,800 --> 00:36:31,200
Anyway, injured pride is absolutely
why she went with Quine over Andrew.
485
00:36:33,700 --> 00:36:36,600
Do you think Fancourt had
a motive to kill Quine?
486
00:36:36,600 --> 00:36:41,000
Well... Obviously there's... the
book's claim that Fancourt wrote
487
00:36:41,000 --> 00:36:42,900
the parody of his wife himself...
488
00:36:42,900 --> 00:36:44,900
Could that be true?
489
00:36:44,900 --> 00:36:48,300
Could Fancourt kill a man?
490
00:36:51,500 --> 00:36:55,100
Well, he's very good at writing hate.
491
00:36:55,100 --> 00:36:58,300
That's a kind of viciousness
that comes from somewhere,
492
00:36:58,300 --> 00:36:59,600
even if it's disguised.
493
00:36:59,600 --> 00:37:02,000
You see, a writer gives
himself away like that.
494
00:37:02,000 --> 00:37:05,300
Invariably puts himself into
the text more than he knows.
495
00:37:05,300 --> 00:37:08,500
Daniel Chard had an interesting
theory about that with Bombyx.
496
00:37:08,500 --> 00:37:11,900
Daniel certainly didn't like
what Quine said about him.
497
00:37:11,900 --> 00:37:14,800
He thinks the manuscript could have
had more than one contributor.
498
00:37:18,700 --> 00:37:22,000
Well, that's rather an
interesting thought.
499
00:37:30,200 --> 00:37:32,000
Now, here we are.
500
00:37:32,000 --> 00:37:36,000
There are lots of parts that
feel like classic Quine...
501
00:37:36,000 --> 00:37:39,700
all shock-horror stuff, but
there are other parts where...
502
00:37:41,800 --> 00:37:46,900
Now, I've edited his
stuff for 20-odd years
503
00:37:46,900 --> 00:37:49,700
and I never once saw
him use a semi-colon.
504
00:37:52,000 --> 00:37:55,000
And in that manuscript,
there are several.
505
00:37:55,000 --> 00:37:59,800
Now, that is not the kind of thing a
writer embraces late in his career.
506
00:38:02,300 --> 00:38:05,100
Thank you. You've been very helpful.
507
00:38:10,000 --> 00:38:11,800
Thank you.
508
00:38:11,800 --> 00:38:13,700
Right, I'm off to Fulham.
509
00:38:17,900 --> 00:38:19,800
I'm sorry about before.
510
00:38:19,800 --> 00:38:21,300
If I'd known he was dead, I...
511
00:38:22,900 --> 00:38:24,300
That's OK.
512
00:38:25,700 --> 00:38:28,900
I remember you said something about...
513
00:38:28,900 --> 00:38:31,600
he'd told you he was going
to put you in his next book?
514
00:38:32,600 --> 00:38:34,900
It seemed to me like you
were expecting to read
515
00:38:34,900 --> 00:38:36,400
a very different manuscript?
516
00:38:37,700 --> 00:38:41,200
He loved me. He told me he wanted
to be with me and work with me.
517
00:38:42,300 --> 00:38:46,500
And then... and I'm a writer as well,
518
00:38:46,500 --> 00:38:49,800
so this was a big deal for me...
he told me he was writing a book
519
00:38:49,800 --> 00:38:55,900
with me in it, and then I read
it, and he calls me "Harpy".
520
00:38:55,900 --> 00:38:58,800
Makes jokes about my sister's cancer.
521
00:38:58,800 --> 00:39:01,700
Just staggeringly, staggeringly painful.
522
00:39:01,700 --> 00:39:03,700
- You hadn't argued?
- He always said he loved me.
523
00:39:03,700 --> 00:39:06,400
And he said, by me being in
his book, we'd be together.
524
00:39:09,900 --> 00:39:11,600
I burned it.
525
00:39:12,900 --> 00:39:17,100
Never trust a novelist. I should
have that tattooed on my arm.
526
00:39:18,500 --> 00:39:21,400
I loved him and he...
he's humiliated me.
527
00:39:21,400 --> 00:39:22,900
Look, it fits.
528
00:39:22,900 --> 00:39:25,600
Or rather, there's so many
other pieces don't quite fit,
529
00:39:25,600 --> 00:39:28,300
it might be the only
thing that explains it.
530
00:39:28,300 --> 00:39:29,500
First of all, the title.
531
00:39:29,500 --> 00:39:32,900
Leonora says Quine told
her silkworms are boiled.
532
00:39:32,900 --> 00:39:35,500
The silkworm in Bombyx is cut open.
533
00:39:35,500 --> 00:39:38,400
But then there's the fact that the
book features its hero burned by
534
00:39:38,400 --> 00:39:41,500
a liquid, and the site just happens
to be filled with hydrochloric acid.
535
00:39:41,500 --> 00:39:43,300
That's a neat coincidence.
536
00:39:43,300 --> 00:39:45,900
Kathryn Kent was expecting
a very different book.
537
00:39:45,900 --> 00:39:49,000
Jerry Waldegrave and Daniel Chard
both detect a foreign influence in
538
00:39:49,000 --> 00:39:52,000
the text. We keep hearing different
versions of the same thing.
539
00:39:52,000 --> 00:39:54,800
Something is not quite right
with Bombyx Mori. So we need
540
00:39:54,800 --> 00:39:57,900
a literary analyst... someone
who can compare writing styles.
541
00:39:57,900 --> 00:39:59,700
Yeah, I can get on that.
542
00:39:59,700 --> 00:40:02,300
And there might also be
something else at Quine's.
543
00:40:02,300 --> 00:40:04,000
Erm, what are you doing?
544
00:40:05,000 --> 00:40:08,500
There's only one instance we know of
where Quine discussed the manuscript
545
00:40:08,500 --> 00:40:11,500
with somebody. The lunch with Liz
Tassel, where she fired him.
546
00:40:11,500 --> 00:40:13,800
Are you going out for lunch again?
547
00:40:13,800 --> 00:40:15,300
Needs must.
548
00:40:20,100 --> 00:40:21,500
Good of you to do this, Al.
549
00:40:21,500 --> 00:40:23,500
I get to hang out with my brother
550
00:40:23,500 --> 00:40:26,200
in my favourite restaurant...
what's not to like?
551
00:40:26,200 --> 00:40:28,400
Dad is still hoping
you'll meet up with him.
552
00:40:28,400 --> 00:40:30,100
How are you?
553
00:40:31,300 --> 00:40:35,000
Ah... Media bollocks, sexy girlfriend.
Can't complain.
554
00:40:36,200 --> 00:40:38,400
Look... you know people here, don't you?
555
00:40:38,400 --> 00:40:39,600
Yeah, I come here a lot.
556
00:40:39,600 --> 00:40:42,300
I need to talk to anyone who might
have seen an argument in here.
557
00:40:42,300 --> 00:40:46,400
Ah, well, Frankie's on.
She knows everyone.
558
00:40:46,400 --> 00:40:49,300
Mate, can you ask Frankie to
come over and have a word?
559
00:40:49,300 --> 00:40:50,800
Thank you.
560
00:40:54,000 --> 00:40:56,100
How are the rest of the siblings?
561
00:40:56,100 --> 00:40:59,600
Oh, the Rokeby diaspora?
You know, they're good.
562
00:41:01,300 --> 00:41:03,800
Dad got inducted into the
Rock & Roll Hall Of Fame.
563
00:41:03,800 --> 00:41:06,900
- Did you see that?
- No, passed me by.
564
00:41:06,900 --> 00:41:08,400
Yeah, you look around and, er,
565
00:41:08,400 --> 00:41:10,500
all these guys are
getting really old now.
566
00:41:10,500 --> 00:41:13,300
Hall of DJs won't have
the same vibe, will it?
567
00:41:29,500 --> 00:41:31,300
Hi, I work with Cormoran Strike.
568
00:41:31,300 --> 00:41:34,900
Is it all right if I come
in and have a look around?
569
00:41:34,900 --> 00:41:38,100
I could use a break, if I'm honest.
Orlando's upstairs.
570
00:41:38,100 --> 00:41:40,600
- I'll go and fetch her.
- Thanks. I'm Robin.
571
00:41:40,600 --> 00:41:42,500
- Hi.
- Nice to meet you.
572
00:42:18,200 --> 00:42:19,700
Hey, Al.
573
00:42:19,700 --> 00:42:22,200
Oh, Frankie, this is
my brother, Cormoran.
574
00:42:22,200 --> 00:42:23,300
Hi.
575
00:42:23,300 --> 00:42:26,700
- Can you spare five minutes?
- It'll have to be a very quick five.
576
00:42:26,700 --> 00:42:30,500
Apparently these two had a row
in here over a fortnight ago.
577
00:42:30,500 --> 00:42:33,100
Ah, yeah, the police asked
us about this already.
578
00:42:33,100 --> 00:42:35,700
- Last-known sighting, wasn't it?
- Were you working?
579
00:42:35,700 --> 00:42:37,700
Oh, my God, they were ridiculous.
580
00:42:37,700 --> 00:42:40,700
At one point, he stood up, literally
pointed his finger at her
581
00:42:40,700 --> 00:42:45,100
and shouted, "The world shall know
you made Fancourt's dick limp."
582
00:42:45,100 --> 00:42:46,900
(CHUCKLING)
583
00:42:46,900 --> 00:42:48,700
I can see you wouldn't forget that!
584
00:42:48,700 --> 00:42:51,000
Did it seem like they
were putting it on?
585
00:42:51,000 --> 00:42:53,700
Oh, he was hamming it up,
enjoying being a massive prick.
586
00:42:53,700 --> 00:42:57,900
She looked properly angry, though,
telling him to sit down and shut up.
587
00:42:57,900 --> 00:42:59,800
He walked out on her.
588
00:42:59,800 --> 00:43:01,800
So he was acting?
589
00:43:01,800 --> 00:43:04,600
Look, I've gotta get back. Is that OK?
590
00:43:04,600 --> 00:43:06,600
We will tip heavily.
591
00:43:06,600 --> 00:43:08,200
Thanks, sweetie.
592
00:43:10,300 --> 00:43:12,900
I never get called
sweetie by waitresses.
593
00:43:12,900 --> 00:43:15,800
Well, that's because you're
not tipping heavily enough.
594
00:43:29,700 --> 00:43:31,700
Do you have a dog?
595
00:43:31,700 --> 00:43:35,400
Yes. Well, well, my family does.
596
00:43:35,400 --> 00:43:37,100
His name's Rowntree.
597
00:43:38,600 --> 00:43:40,300
I want a dog.
598
00:43:40,300 --> 00:43:42,200
What kind of dog?
599
00:43:42,200 --> 00:43:44,000
I just want a dog!
600
00:43:47,100 --> 00:43:49,100
What's your name?
601
00:43:49,100 --> 00:43:50,700
Robin.
602
00:43:51,900 --> 00:43:54,700
I'm Dodo. I'm a bird.
603
00:43:54,700 --> 00:43:57,200
- Robins are birds.
- Yeah!
604
00:43:58,500 --> 00:43:59,900
Can I draw you one?
605
00:44:04,700 --> 00:44:05,900
Right.
606
00:44:29,400 --> 00:44:30,900
There you go.
607
00:44:36,400 --> 00:44:38,400
What else is in there?
608
00:44:38,400 --> 00:44:40,700
I can't show you the inside.
609
00:44:40,700 --> 00:44:44,300
That's where I put things I've stolen.
610
00:44:44,300 --> 00:44:45,900
Oh.
611
00:44:48,300 --> 00:44:52,000
If I was to give you something
of mine to steal...
612
00:44:52,000 --> 00:44:53,600
could I have a look inside then?
613
00:44:55,700 --> 00:44:57,200
Oh.
614
00:44:57,200 --> 00:45:00,300
Ha! You've got expensive taste.
615
00:45:02,900 --> 00:45:03,900
OK.
616
00:45:05,800 --> 00:45:06,900
Here you go.
617
00:45:18,500 --> 00:45:19,900
Wow!
618
00:45:40,400 --> 00:45:42,700
Are you stealing it?
619
00:45:44,900 --> 00:45:48,100
- Would you mind?
- No. You can steal it.
620
00:45:49,800 --> 00:45:51,400
Thanks, Orlando.
621
00:45:53,400 --> 00:45:55,100
Do you think we should go outside now?
622
00:45:55,100 --> 00:45:57,900
No, you stay with me.
623
00:46:03,200 --> 00:46:05,400
Stay! Stay! Stay!
624
00:46:05,400 --> 00:46:08,300
I'll come and see you again, I promise.
I promise.
625
00:46:08,300 --> 00:46:11,800
- Stay!
- (SHE SOBS)
626
00:46:11,800 --> 00:46:13,100
Are you going to be OK?
627
00:46:13,100 --> 00:46:16,800
She's just missing her mum. We'll be
all right, though, won't we, Dodo?
628
00:46:16,800 --> 00:46:18,500
Come on, my darling, there we go.
629
00:46:22,000 --> 00:46:24,700
Regular names. Eddie Boy and Kate.
630
00:46:26,500 --> 00:46:28,700
There's no baroque archetypes here.
631
00:46:38,900 --> 00:46:40,600
You did well to get this.
632
00:46:40,600 --> 00:46:42,400
Apparently a lot of
people ask Oxford for it
633
00:46:42,400 --> 00:46:45,300
cos it's got Fancourt's
earliest published story in it.
634
00:46:45,300 --> 00:46:46,700
How's it looking?
635
00:46:46,700 --> 00:46:50,600
Yeah, so, you see here
in these short stories,
636
00:46:50,600 --> 00:46:52,700
and here in this parody,
637
00:46:52,700 --> 00:46:55,100
the same unusual formulation of phrase.
638
00:46:55,100 --> 00:46:56,500
And here again, in this piece,
639
00:46:56,500 --> 00:47:00,100
the semi-colon used more
frequently than usual.
640
00:47:00,100 --> 00:47:02,300
Ah, yes. Look here.
641
00:47:02,300 --> 00:47:05,800
Fancourt favours an Oxford comma
and it's across all three pieces.
642
00:47:05,800 --> 00:47:10,500
Er, here, in Quine's novel...
no Oxford comma.
643
00:47:11,800 --> 00:47:15,000
It's the kind of thing a writer
usually is in or out on.
644
00:47:15,000 --> 00:47:17,100
Is it proof?
645
00:47:17,100 --> 00:47:19,000
No.
646
00:47:19,000 --> 00:47:21,700
Um, but these things together,
647
00:47:21,700 --> 00:47:24,500
I would bet that whoever
wrote this parody piece
648
00:47:24,500 --> 00:47:28,900
also wrote your Bombyx Mori. Er,
and probably this short story too.
649
00:47:28,900 --> 00:47:31,400
- Harder to say here.
- I'd bet on it as well.
650
00:47:33,100 --> 00:47:35,400
It's a sophisticated revenge, isn't it?
651
00:47:35,400 --> 00:47:40,600
The story of your grudge in the form
of a secret parody of Quine himself.
652
00:47:40,600 --> 00:47:44,100
A story that leaves
Quine's lover, his wife
653
00:47:44,100 --> 00:47:45,900
AND his colleagues all hating him.
654
00:47:45,900 --> 00:47:48,200
It's a very comprehensive
kind of revenge.
655
00:47:48,200 --> 00:47:49,500
But too complicated.
656
00:47:49,500 --> 00:47:51,400
That's what unpicked them in the end.
657
00:47:56,000 --> 00:48:00,500
Anstis, last favour. You
need to trust me on this.
658
00:48:00,500 --> 00:48:03,600
You're going to need to
get a search warrant.
659
00:48:11,000 --> 00:48:13,700
- Are you sure about this?
- Absolutely.
660
00:48:23,700 --> 00:48:25,900
It's like a Bombyx Mori reunion.
661
00:48:39,200 --> 00:48:41,900
Mr Chard, Mr Fancourt,
if you have a moment?
662
00:48:41,900 --> 00:48:44,100
It concerns Bombyx Mori.
663
00:48:55,800 --> 00:48:59,000
I read the parody of your
wife's novel, Mr Fancourt.
664
00:49:01,100 --> 00:49:03,500
How does it hold up?
665
00:49:03,500 --> 00:49:05,900
What struck me was how spiteful it was.
666
00:49:09,700 --> 00:49:11,100
But what about Bombyx?
667
00:49:12,700 --> 00:49:15,500
The two pieces were written
by the same person.
668
00:49:16,600 --> 00:49:19,500
- Well, we know that.
- Owen Quine was not the author.
669
00:49:21,600 --> 00:49:24,600
I couldn't hear the title of
that wretched book raised
670
00:49:24,600 --> 00:49:25,700
and not apologise...
671
00:49:26,900 --> 00:49:28,400
..to you both.
672
00:49:28,400 --> 00:49:29,600
Evening, Miss Tassel.
673
00:49:29,600 --> 00:49:33,000
I was just telling them that Owen
Quine didn't write Bombyx Mori.
674
00:49:33,000 --> 00:49:35,700
At least not the version they've read.
675
00:49:35,700 --> 00:49:38,200
He did write a book called Bombyx Mori,
676
00:49:38,200 --> 00:49:40,900
and he intended to settle
some scores with it,
677
00:49:40,900 --> 00:49:45,100
embarrass a few old sparring partners.
But his anecdote about
678
00:49:45,100 --> 00:49:49,700
Mr Fancourt's limp dick doesn't
appear in the text we were given.
679
00:49:52,700 --> 00:49:55,100
What are you talking about?
680
00:49:55,100 --> 00:49:57,700
You wrote the parody of
Ellie Fancourt's novel.
681
00:49:57,700 --> 00:50:00,400
The one she killed herself over.
682
00:50:00,400 --> 00:50:02,700
Owen Quine knew you wrote it.
683
00:50:05,100 --> 00:50:07,400
That is a disgusting slur.
684
00:50:07,400 --> 00:50:10,600
You wrote a short story
for an Oxford anthology.
685
00:50:10,600 --> 00:50:15,100
Its style is a good match
with both Bombyx Mori
686
00:50:15,100 --> 00:50:18,600
and the parody of Ellie Fancourt's book.
687
00:50:18,600 --> 00:50:21,800
Andrew, don't listen to this.
It is absolute rubbish.
688
00:50:21,800 --> 00:50:24,800
It's all there in the book
you wrote, Miss Tassel.
689
00:50:24,800 --> 00:50:27,400
Your hurt when Andrew
rejected your writing,
690
00:50:27,400 --> 00:50:29,600
and again when he rejected your love.
691
00:50:37,100 --> 00:50:40,500
Owen Quine had a price
for keeping your secret.
692
00:50:40,500 --> 00:50:43,300
You didn't support that
family out of pity.
693
00:50:43,300 --> 00:50:46,400
He blackmailed you for nearly 30 years.
694
00:50:46,400 --> 00:50:49,500
He forced you to choose him
over Andrew as a client.
695
00:50:49,500 --> 00:50:51,400
Poor Mr Strike.
696
00:50:51,400 --> 00:50:54,000
So buggered for money, he
has to scrape the barrel.
697
00:50:54,000 --> 00:50:57,000
It was your idea for Quine to
make a scene in the restaurant,
698
00:50:57,000 --> 00:50:59,100
and shout at you, storm out.
699
00:50:59,100 --> 00:51:01,800
And later he'd hole up in Talgarth Road,
700
00:51:01,800 --> 00:51:04,700
while the press picked up on
the row and his disappearance.
701
00:51:04,700 --> 00:51:06,500
It had worked for him in the past.
702
00:51:07,800 --> 00:51:08,900
Rubbish.
703
00:51:08,900 --> 00:51:12,000
Afterwards, you visited
Leonora's house to reassure her
704
00:51:12,000 --> 00:51:13,500
when Quine went missing.
705
00:51:13,500 --> 00:51:16,500
You took the opportunity to remove
every notebook from Quine's study
706
00:51:16,500 --> 00:51:20,300
that contained scraps of
the real Bombyx Mori.
707
00:51:20,300 --> 00:51:23,100
But you didn't manage
to destroy every trace.
708
00:51:26,700 --> 00:51:29,800
I found some pages from
the real manuscript
709
00:51:29,800 --> 00:51:32,100
and an original typewriter ribbon.
710
00:51:33,200 --> 00:51:34,900
The police have just pulled
711
00:51:34,900 --> 00:51:38,100
an electric typewriter... the
same model as Quine's...
712
00:51:38,100 --> 00:51:42,500
from the millpond at your
friend Dorcus Pengelly's house.
713
00:51:43,900 --> 00:51:45,700
(SHE GROANS AND COUGHS)
714
00:51:45,700 --> 00:51:47,400
They'll be here imminently.
715
00:51:48,700 --> 00:51:52,500
The acid you used really did
rip your throat to shreds.
716
00:52:07,200 --> 00:52:08,300
Robin!
717
00:52:15,500 --> 00:52:16,800
Don't!
718
00:52:30,400 --> 00:52:32,300
(HORN HONKS, TYRES SQUEAL)
719
00:52:38,900 --> 00:52:40,500
Robin?!
720
00:52:53,000 --> 00:52:54,600
You all right?
721
00:52:54,600 --> 00:52:56,900
Yeah. I'm fine. I'm fine.
722
00:52:56,900 --> 00:52:58,700
(SIRENS APPROACH)
723
00:53:03,500 --> 00:53:05,000
Yes, I'll hold.
724
00:53:18,500 --> 00:53:20,100
Robin?
725
00:53:28,400 --> 00:53:30,900
I think it's good news. Call us a cab?
726
00:53:55,000 --> 00:53:58,700
- Where is she?
- In prison, on suicide watch.
727
00:54:01,400 --> 00:54:04,400
The police found your husband's
real book in her house.
728
00:54:04,400 --> 00:54:07,200
Daniel Chard wants to read it,
with a view to publishing.
729
00:54:08,500 --> 00:54:11,900
This one might even sell a few copies.
730
00:54:31,400 --> 00:54:34,100
- Mummy! Mummy!
- My Dodo!
731
00:54:56,000 --> 00:54:59,700
- Is Anstis talking to you?
- Has to. I saved his life.
732
00:54:59,700 --> 00:55:01,200
And, anyway, like most coppers,
733
00:55:01,200 --> 00:55:03,600
he doesn't want to see the
wrong person locked up.
734
00:55:03,600 --> 00:55:06,000
They checked her freezer, by the way.
735
00:55:06,000 --> 00:55:09,000
- Not the guts...
- Feeding them to her dog.
736
00:55:09,000 --> 00:55:10,400
That's disgusting.
737
00:55:12,100 --> 00:55:14,000
Does Matthew mind about all that?
738
00:55:14,000 --> 00:55:18,200
Oh, yeah, told him I'd seen worse
on him after rugby matches,
739
00:55:18,200 --> 00:55:20,700
and claimed gender equality.
740
00:55:20,700 --> 00:55:22,700
Erm, I'm going to get the Tube.
741
00:55:22,800 --> 00:55:27,900
Oh, I, erm, I... Your ex sent
in some photos, by the way,
742
00:55:27,900 --> 00:55:29,800
and I opened them by accident.
743
00:55:30,200 --> 00:55:32,100
She's not my problem any more.
744
00:55:32,200 --> 00:55:34,800
Right, well, I'll see you tomorrow.
745
00:55:34,900 --> 00:55:36,600
- Robin.
- Mm?
746
00:55:36,600 --> 00:55:38,500
I got something for you.
747
00:55:41,000 --> 00:55:43,100
- What is it?
- Open it.
748
00:55:48,100 --> 00:55:51,700
"Surveillance course. You
find it, I'll pay for it."
749
00:55:52,500 --> 00:55:54,700
Really?
750
00:55:54,700 --> 00:55:56,300
So... partners, yeah?
751
00:56:05,200 --> 00:56:09,300
♪ Oh, yesterday is to come ♪
752
00:56:09,300 --> 00:56:13,400
♪ Godspeed, your distant sun ♪
753
00:56:13,400 --> 00:56:16,800
♪ Oh, yesterday is to come ♪
754
00:56:16,800 --> 00:56:19,600
♪ I will never, ever wish you away ♪
755
00:56:20,900 --> 00:56:24,100
♪ Never, ever wish you away ♪
756
00:56:26,500 --> 00:56:31,100
♪ All of tomorrow's
Shapeless and undefined ♪
757
00:56:31,100 --> 00:56:34,900
♪ We'll merge into one ♪
758
00:56:34,900 --> 00:56:39,100
♪ In a fine lament for
yesterdays to come ♪
759
00:56:41,900 --> 00:56:46,500
♪ All of tomorrow's
Shapeless and undefined ♪
760
00:56:46,500 --> 00:56:49,100
♪ We'll merge into one ♪
761
00:56:50,300 --> 00:56:56,200
♪ In a fine lament for
yesterdays to come. ♪
58176
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