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This programme contains some violent scenes and some scenes of a sexual nature. | 0:00:17 | 0:00:24 | |
DRAMATIC ORCHESTRAL MUSIC | 0:00:29 | 0:00:35 | |
My God, who did this thing?! | 0:00:42 | 0:00:45 | |
Mathilde, speak to me! | 0:00:45 | 0:00:47 | |
# In the darkness, scarce I saw him | 0:00:48 | 0:00:52 | |
# Man or beast, I could not tell PHONE RINGS | 0:00:52 | 0:00:57 | |
# Soft his shadow fell before him | 0:00:57 | 0:01:02 | |
# Apparition born in Hell | 0:01:02 | 0:01:07 | |
# Ghostly, ghastly, through the gloom | 0:01:07 | 0:01:11 | |
# He struck me down upon the stair | 0:01:11 | 0:01:17 | |
# Then a black abyss consumed me | 0:01:17 | 0:01:21 | |
# When I woke he was not there | 0:01:21 | 0:01:26 | |
# He had vanished in the air... # | 0:01:26 | 0:01:30 | |
-MALE ACTOR: -But how could he have escaped | 0:01:30 | 0:01:32 | |
through a locked door and a barred window?! | 0:01:32 | 0:01:36 | |
It's impossible! | 0:01:36 | 0:01:38 | |
-# -What evil creature of the night | 0:01:38 | 0:01:42 | |
-# -Was here and then took flight? | 0:01:42 | 0:01:47 | |
# What phantom in this chamber Yet may hide? | 0:01:47 | 0:01:52 | |
-# -What demon in his dark domain May yet remain? | 0:01:52 | 0:01:56 | |
WHISPERED ARGUMENT | 0:01:56 | 0:01:59 | |
# What secrets in The Yellow Room reside? # | 0:01:59 | 0:02:03 | |
So, how did that work for you, then, tactically? | 0:02:08 | 0:02:11 | |
You might know the man would try and bite you in the neck. | 0:02:11 | 0:02:13 | |
I might know he'd try and bite me in the neck? No! | 0:02:13 | 0:02:16 | |
Do we have to assume everyone in the theatre's a vampire now, do we? | 0:02:16 | 0:02:20 | |
Hi, Polly and Jonathan Creek, MMP Marketing. | 0:02:20 | 0:02:23 | |
we're here to see Zelda Niedlespascher. | 0:02:23 | 0:02:24 | |
60 quid a throw, you expect a little decorum. | 0:02:24 | 0:02:27 | |
I'd hate to see where they try and bite you in the cheap seats... | 0:02:27 | 0:02:29 | |
Can't you ever turn a blind eye to these things? | 0:02:29 | 0:02:32 | |
It may not be our biggest account, but very high profile, | 0:02:34 | 0:02:36 | |
and it'll be great to get their creative input | 0:02:36 | 0:02:38 | |
on the rebranding strategy for next year. | 0:02:38 | 0:02:40 | |
Yeah, well, The Mystery of the Yellow Room? I'm sorry, Gaston Leroux? | 0:02:40 | 0:02:45 | |
Only happens to be one of THE benchmark novels | 0:02:45 | 0:02:47 | |
of impossible crime fiction. | 0:02:47 | 0:02:49 | |
Whereas THAT was just two and a half hours of complete and utter tos... | 0:02:49 | 0:02:53 | |
-Ow! -Polly and Jonathan, hello! -Hello! | 0:02:53 | 0:02:55 | |
Oh, mon Dieu, quel dommage! | 0:02:55 | 0:02:57 | |
-Mais, qu'est-ce qui s'est passe? -On va au theatre, c'est comme la Bataille de la Somme. | 0:02:57 | 0:03:01 | |
I know, I know, you don't have to say it. | 0:03:03 | 0:03:05 | |
My whole interpretation in the gondola scene, | 0:03:05 | 0:03:08 | |
it lacked phrasing, it lacked modulation, it lacked intensity. | 0:03:08 | 0:03:11 | |
It also lacked the gondola. Did you notice? | 0:03:11 | 0:03:13 | |
Three nights now, Zelda, we have to walk on water because the man in | 0:03:13 | 0:03:16 | |
the wings with his toy boats can't pull a screwdriver out of his arse! | 0:03:16 | 0:03:19 | |
-What's going on? -Yes, yes, we fix in the morning, OK? | 0:03:19 | 0:03:21 | |
10.30, all the technicals. | 0:03:21 | 0:03:24 | |
And I cast these people! | 0:03:26 | 0:03:28 | |
A leading lady with no confidence, a leading man with no patience. | 0:03:28 | 0:03:32 | |
You want some true insights for your campaign? | 0:03:32 | 0:03:34 | |
you should come back tomorrow and witness the chaos. | 0:03:34 | 0:03:37 | |
Yes, well, tomorrow, sadly, we're out of town, aren't we? | 0:03:37 | 0:03:40 | |
Sunday lunch at Sharon's with their little eight-year-old? | 0:03:40 | 0:03:43 | |
Promised to go and say hello to the new pony. | 0:03:43 | 0:03:45 | |
Or had you forgotten? | 0:03:45 | 0:03:47 | |
No, no, no. I hadn't forgotten. | 0:03:47 | 0:03:50 | |
Hey, Angus. | 0:03:50 | 0:03:51 | |
-You all right? -Oh, I've got some post for you. | 0:03:51 | 0:03:55 | |
Thank you. Night-night, sweetie. | 0:03:55 | 0:03:57 | |
Was it a late one? | 0:04:32 | 0:04:34 | |
Sorry. | 0:04:34 | 0:04:36 | |
How was your day? | 0:04:37 | 0:04:39 | |
You all right? | 0:04:39 | 0:04:41 | |
HE GRUNTS | 0:04:54 | 0:04:57 | |
Stop it. Stop it! | 0:04:57 | 0:04:59 | |
Stop it, get off me! Get off! | 0:04:59 | 0:05:01 | |
What, what? For God's sake, what's wrong? | 0:05:01 | 0:05:03 | |
What's wrong is that I'm not here any more, am I? | 0:05:03 | 0:05:07 | |
-It's just you and her! -You're wrong. | 0:05:07 | 0:05:10 | |
It's a sickness, Angus, what's going on with that woman in your head. | 0:05:10 | 0:05:15 | |
And I swear to God, you are going to have to deal with it, | 0:05:15 | 0:05:17 | |
because I'm sorry, I can't! | 0:05:17 | 0:05:19 | |
No, well, listen, it works for Roger. | 0:05:29 | 0:05:31 | |
I mean, an hour on the train each day, but what's that? | 0:05:31 | 0:05:33 | |
When you were born and brought up in the country, it's just... | 0:05:33 | 0:05:36 | |
Cos obviously we've only just started looking around, but, | 0:05:36 | 0:05:39 | |
no, definitely feeling the time's right now to make the move. | 0:05:39 | 0:05:43 | |
Anyway, listen. It's meant the world to her today, you coming over. | 0:05:43 | 0:05:47 | |
Especially after that big upset this week, | 0:05:47 | 0:05:49 | |
which, I have to say, she's taken amazingly well. | 0:05:49 | 0:05:52 | |
Upset? | 0:05:52 | 0:05:54 | |
Yeah. Last Tuesday was awful. Her imaginary friend died. | 0:05:54 | 0:05:59 | |
They were out together playing in the garden, | 0:05:59 | 0:06:02 | |
and this dragon came down and just completely burnt her alive, | 0:06:02 | 0:06:06 | |
there on the spot, with its fiery breath. | 0:06:06 | 0:06:09 | |
I mean, horrible, right? | 0:06:09 | 0:06:11 | |
All that oozing skin, and eyes melting in their sockets? | 0:06:11 | 0:06:16 | |
But listen - did I tell you? | 0:06:18 | 0:06:19 | |
-Ridley's going to be joining us for dinner tonight? -Oh! | 0:06:19 | 0:06:22 | |
Managed to sneak the weekend off from uni. | 0:06:22 | 0:06:24 | |
You know he's been doing this module in advanced criminology? | 0:06:24 | 0:06:27 | |
I tell you, it's like this genius talent he's got for working things out | 0:06:27 | 0:06:30 | |
from the tiniest details and scraps of evidence. | 0:06:30 | 0:06:33 | |
Of course, that's his big dream, is a career in forensic detection, | 0:06:33 | 0:06:36 | |
so, obviously, you know, he's desperate to talk to your husband, | 0:06:36 | 0:06:40 | |
-about how to... -Yeah. Jonathan's not a detective. | 0:06:40 | 0:06:42 | |
No, no. But all those weird cases he's solved. | 0:06:42 | 0:06:45 | |
Yeah, are the very thing we're trying to put behind us, Sharon. | 0:06:45 | 0:06:48 | |
You know, it would be nice to live in the real world now if we can. | 0:06:48 | 0:06:52 | |
-CHILD SCREAMS -Ripley? What is it? What's happened! | 0:06:52 | 0:06:56 | |
He chopped the head off my pony! | 0:06:56 | 0:07:00 | |
Chopped the head off her pony? | 0:07:01 | 0:07:04 | |
What? What? | 0:07:04 | 0:07:07 | |
I was showing her some pictures I took of the two of them | 0:07:07 | 0:07:10 | |
and I said, "I'm sorry about that one. | 0:07:10 | 0:07:12 | |
-"Looks like I've cut his head off." -How could you say such a thing! | 0:07:12 | 0:07:15 | |
Don't you even THINK before you speak? | 0:07:15 | 0:07:17 | |
She has a very vivid imagination. | 0:07:17 | 0:07:19 | |
So what does she think I am now, some kind of hit man for the Mafia? | 0:07:19 | 0:07:22 | |
She's only got to go in the stable, hasn't she? | 0:07:22 | 0:07:24 | |
-See it's still standing there. -Why would she go in the stable now, | 0:07:24 | 0:07:27 | |
which she presumably thinks is swimming in horse's blood? | 0:07:27 | 0:07:30 | |
Ripley, it's OK, he's fine, he's fine, I promise! | 0:07:30 | 0:07:34 | |
Ripley and Ridley. | 0:07:34 | 0:07:36 | |
No prizes for guessing what her favourite film is. | 0:07:36 | 0:07:39 | |
ROMANTIC ORCHESTRAL MUSIC | 0:07:42 | 0:07:46 | |
# Drifting together in a daydream | 0:07:49 | 0:07:55 | |
# Floating for ever on a moonbeam | 0:07:55 | 0:08:01 | |
# Beneath a dark enchanted night | 0:08:01 | 0:08:04 | |
# Where silver stars Bestow their light | 0:08:04 | 0:08:08 | |
# Upon the waters from above | 0:08:08 | 0:08:11 | |
# Where on an evening such as this | 0:08:11 | 0:08:14 | |
# An angel watching our first kiss | 0:08:14 | 0:08:16 | |
# Came down and taught us how to love... # | 0:08:16 | 0:08:21 | |
-Whoa, whoa, whoa! -SHE RETCHES | 0:08:21 | 0:08:23 | |
TUBA PARPS OFF KEY | 0:08:23 | 0:08:25 | |
SHE COUGHS | 0:08:25 | 0:08:27 | |
-Oh, my God! -For God's sake, Zelda! | 0:08:27 | 0:08:29 | |
It's all right, sweetheart, it's OK. | 0:08:29 | 0:08:32 | |
What did I say? | 0:08:34 | 0:08:36 | |
I said we'd not seen the last of that sweet and sour squid. | 0:08:36 | 0:08:38 | |
Just a touch of mal de mer, you'll be fine. | 0:08:38 | 0:08:41 | |
It's not that, Darryl, it's me, | 0:08:41 | 0:08:44 | |
I'm rubbish. | 0:08:44 | 0:08:46 | |
The things you read now. | 0:08:46 | 0:08:48 | |
Apparently, I'm just this third-rate maladroit soubrette. | 0:08:48 | 0:08:52 | |
Blonde, bland, and blind to her own inadequacies. | 0:08:52 | 0:08:55 | |
Critics! It's the public you should listen to. | 0:08:55 | 0:08:58 | |
Oh, that was the public. That was in the ladies' toilet upstairs. | 0:08:58 | 0:09:02 | |
Written on the cistern, in lipstick. | 0:09:02 | 0:09:04 | |
TUBA PARPS, SPLOSHING | 0:09:04 | 0:09:06 | |
Today's fan club, tomorrow's lynch mob. What are they like? | 0:09:06 | 0:09:10 | |
-Here. -Thank you. | 0:09:10 | 0:09:13 | |
I tell you, there's some really frightening people out there. | 0:09:13 | 0:09:17 | |
OK, first positions then, everyone, let's start again! | 0:09:17 | 0:09:20 | |
-Bye, Juno. -Bye. | 0:09:47 | 0:09:49 | |
DISTANT YELLING | 0:10:10 | 0:10:13 | |
GLASS SMASHES, DOG BARKS | 0:10:15 | 0:10:18 | |
DISTANT SHOUTS | 0:10:20 | 0:10:23 | |
You - Juno Pirelli? | 0:10:27 | 0:10:30 | |
I've got a present for you. | 0:10:30 | 0:10:32 | |
SHE GASPS | 0:10:32 | 0:10:34 | |
Oh, God, oh, God, oh, God, oh, God! No, no, no, no! | 0:10:45 | 0:10:50 | |
No, no, no! | 0:10:50 | 0:10:53 | |
No! Oh, no! Oh, no! | 0:10:53 | 0:10:56 | |
What have you done?! | 0:10:56 | 0:10:58 | |
Oh, shit, oh, shit! Jesus, what have you done?! | 0:10:58 | 0:11:01 | |
Get away from her! Get away! Open that door! | 0:11:01 | 0:11:04 | |
-It's OK. -JUNO GASPS | 0:11:06 | 0:11:08 | |
TYRES SCREECH | 0:11:08 | 0:11:10 | |
Mmm, smells great. Lovely. | 0:11:14 | 0:11:17 | |
Oh, now, please, sugar, don't do that. | 0:11:17 | 0:11:20 | |
That's only on trees, remember? Come away from there. | 0:11:20 | 0:11:23 | |
-Epitaph, for her imaginary friend? -No, just likes carving her name. | 0:11:23 | 0:11:29 | |
Which is all very well, but... | 0:11:29 | 0:11:30 | |
Come on, Ripley, think it's way past your bedtime, so, off you go. | 0:11:30 | 0:11:34 | |
Ah! Here he is, the man of the moment! | 0:11:34 | 0:11:37 | |
-How were the trains? You have a good journey? -Yeah, fine. | 0:11:37 | 0:11:40 | |
Ridley, this is Jonathan. | 0:11:40 | 0:11:43 | |
-Hi, Jonathan, a real pleasure. -Me, too. -Polly, hi. | 0:11:43 | 0:11:47 | |
Hello! | 0:11:47 | 0:11:48 | |
So, I see you're just back from Reykjavik, both of you? | 0:11:48 | 0:11:51 | |
-Hope you had an enjoyable flight. -I beg your pardon? | 0:11:51 | 0:11:55 | |
Reykjavik? You never said! You see? This is what he does. | 0:11:55 | 0:11:59 | |
How, I have absolutely no idea. | 0:11:59 | 0:12:01 | |
Oh, come on, you make me sound like some kind of sorcerer! | 0:12:01 | 0:12:04 | |
When, as Jonathan knows, | 0:12:04 | 0:12:06 | |
there's no trick to the art of simple observation. | 0:12:06 | 0:12:09 | |
The abrasions round the side of your neck, quite recent, | 0:12:09 | 0:12:11 | |
quite deep, and quite nasty. | 0:12:11 | 0:12:13 | |
Something feral at work. | 0:12:13 | 0:12:14 | |
If not feral, then certainly not happy. A pet, perhaps? | 0:12:14 | 0:12:17 | |
Provoked or antagonised? Or traumatised? | 0:12:17 | 0:12:20 | |
In your bag, a diary entry, largely obscured, for yesterday. | 0:12:20 | 0:12:22 | |
A visit somewhere, to a cemetery? A monastery? A presbytery? | 0:12:22 | 0:12:26 | |
The name, Zelda, a touch too exotic. More plausibly feline. | 0:12:26 | 0:12:29 | |
A cattery, then, but boarding or collecting? | 0:12:29 | 0:12:31 | |
Allow room for Zelda. where. In a car full of bags? | 0:12:31 | 0:12:34 | |
Returning from the airport, surely? | 0:12:34 | 0:12:36 | |
Why drop a cat off more than 24 hours before departure. | 0:12:36 | 0:12:38 | |
And a week or two in a kennel would explain the feisty behaviour. | 0:12:38 | 0:12:41 | |
The watch on your wrist, still set for a previous time zone, | 0:12:41 | 0:12:44 | |
is one hour behind, which leaves us only Iceland or north-west Africa. | 0:12:44 | 0:12:47 | |
Yet no discernible suntans and that faint reddening of the left eyelid. | 0:12:47 | 0:12:51 | |
What else but a biting Arctic wind? So, you see. | 0:12:51 | 0:12:56 | |
Really very simple. Anyway, if you'll excuse me a sec while I just, erm... | 0:12:56 | 0:13:00 | |
Should I tell him it needs a new battery? | 0:13:04 | 0:13:08 | |
Oh, God! Oh, my God, no! | 0:13:08 | 0:13:12 | |
Sharon? What is it? You OK? What's happened? | 0:13:12 | 0:13:16 | |
It's my dad. He's dead. | 0:13:16 | 0:13:19 | |
What do you mean, he's dead? | 0:13:20 | 0:13:21 | |
It just says, "I'm sorry to let you know, | 0:13:21 | 0:13:25 | |
"he just peacefully slipped away, about half an hour ago." | 0:13:25 | 0:13:29 | |
-Oh, God, oh, God, oh, God! -Oh, Sharon, I'm so sorry. | 0:13:29 | 0:13:35 | |
Oh, no! | 0:13:35 | 0:13:38 | |
You know what? This isn't my phone! | 0:13:38 | 0:13:42 | |
It must be your phone! Oh, thank you, God! | 0:13:42 | 0:13:46 | |
Thank you so much! | 0:13:46 | 0:13:48 | |
Cos I just naturally picked it up off there and... | 0:13:48 | 0:13:51 | |
What a relief! I mean, that really scared me to... | 0:13:51 | 0:13:54 | |
..death. | 0:13:57 | 0:13:59 | |
Oh, yeah, so that's, erm... | 0:13:59 | 0:14:03 | |
You'll... | 0:14:05 | 0:14:06 | |
..probably want to... | 0:14:07 | 0:14:09 | |
It's OK, you're going to be OK. | 0:14:16 | 0:14:20 | |
Doesn't look like it's deep at all, as far as I can tell. | 0:14:20 | 0:14:25 | |
It's just a flesh wound. | 0:14:25 | 0:14:26 | |
Thank God. | 0:14:27 | 0:14:29 | |
The thick coat, I think, took the worst of it. | 0:14:29 | 0:14:31 | |
SHE COUGHS | 0:14:43 | 0:14:46 | |
Why, Angus? Why? | 0:14:47 | 0:14:50 | |
Y-You have to try and understand... | 0:14:52 | 0:14:53 | |
She's in this really bad place at the moment. | 0:14:55 | 0:14:58 | |
16 months. It's not getting any better. | 0:14:58 | 0:15:02 | |
16 months since...? | 0:15:02 | 0:15:04 | |
He was barely four weeks old. | 0:15:07 | 0:15:09 | |
Emotionally, she's like... | 0:15:09 | 0:15:12 | |
Everything's a conspiracy, everything's a threat. | 0:15:12 | 0:15:15 | |
I try and tell her it's all in her mind, this morbid insecurity. | 0:15:15 | 0:15:20 | |
I didn't mean to hurt you! | 0:15:20 | 0:15:23 | |
Oh, God, what have I done?! | 0:15:23 | 0:15:25 | |
SHE SOBS | 0:15:25 | 0:15:27 | |
More time. She just needs more time. | 0:15:27 | 0:15:32 | |
SOBBING CONTINUES | 0:15:32 | 0:15:34 | |
No, no, you've done a wonderful job, Mr Partridge, thank you. | 0:15:37 | 0:15:40 | |
-It's just... -I think any more red in the cheeks and we'll be getting | 0:15:40 | 0:15:44 | |
-a bit Prince Harry. -Yes. | 0:15:44 | 0:15:46 | |
He just looks a bit... sad, I suppose. | 0:15:46 | 0:15:51 | |
-I suppose you would be. -We can cheer him up if you'd prefer. | 0:15:51 | 0:15:54 | |
Could you? Yes. Just perhaps, erm... | 0:15:54 | 0:15:58 | |
Oh, God. | 0:16:00 | 0:16:01 | |
Things hadn't been good for some time, but... | 0:16:03 | 0:16:06 | |
Just seemed to go downhill so fast. | 0:16:06 | 0:16:08 | |
It seems like only yesterday he was here | 0:16:08 | 0:16:11 | |
making arrangements for your dear mother. | 0:16:11 | 0:16:13 | |
11 years. | 0:16:13 | 0:16:14 | |
Is it really? | 0:16:14 | 0:16:17 | |
And so, great big empty house there, now. | 0:16:17 | 0:16:21 | |
What will you do, will you put it on the market, do you think? | 0:16:21 | 0:16:24 | |
Oh, who knows? | 0:16:24 | 0:16:26 | |
Why is everything so hard? | 0:16:30 | 0:16:32 | |
Rigor mortis, I think you'll find. | 0:16:32 | 0:16:34 | |
How can a house die? | 0:17:17 | 0:17:19 | |
It doesn't have to. It's whatever we put into it. | 0:17:21 | 0:17:24 | |
I'm sure they'd both have wanted that. | 0:17:26 | 0:17:28 | |
And for the life of me, I'm still not getting this. | 0:17:32 | 0:17:35 | |
You won't go to the hospital, or the police? | 0:17:35 | 0:17:37 | |
Bloody woman needs locking up! | 0:17:37 | 0:17:39 | |
She needs help! Darryl, if you'd been there... | 0:17:39 | 0:17:42 | |
And all I could think was, what would it do to me, you know? | 0:17:42 | 0:17:46 | |
It's like, where is the justice in her life? | 0:17:46 | 0:17:49 | |
Come on, I turn up at A&E now, with a stab wound? | 0:17:49 | 0:17:53 | |
It's going to be a bit tricky to explain. | 0:17:53 | 0:17:55 | |
God forbid we ever let a jury near this - | 0:17:55 | 0:17:57 | |
they're the people that write on toilet cisterns. | 0:17:57 | 0:17:59 | |
Well, you need to get that looked at, young lady, | 0:17:59 | 0:18:02 | |
and by someone who's handy with a needle. | 0:18:02 | 0:18:04 | |
I might know someone. Meantime... | 0:18:04 | 0:18:07 | |
Meantime... | 0:18:07 | 0:18:09 | |
..you think you might have something? | 0:18:12 | 0:18:14 | |
For you, my sweet, always. | 0:18:14 | 0:18:17 | |
I'm a magician, you know that. | 0:18:17 | 0:18:19 | |
When was it, you said, last year in that Joe Orton, | 0:18:19 | 0:18:23 | |
a certain well-known young actress with a Caesarean scar? | 0:18:23 | 0:18:25 | |
You had to come up with this special prosthetic. See? | 0:18:25 | 0:18:29 | |
You star turn! We'll make this work, won't we? | 0:18:29 | 0:18:35 | |
Cos I promised him, you know? For her. | 0:18:35 | 0:18:37 | |
Two minutes for the pasta. | 0:18:48 | 0:18:50 | |
I managed to cobble a sauce together, of sorts. What's that? | 0:18:50 | 0:18:54 | |
No, just having a nose around. Found it in one of those books. | 0:18:54 | 0:18:58 | |
Oh, yeah, from the local paper. | 0:18:58 | 0:19:01 | |
Used to keep this next to him, just there on his desk. | 0:19:03 | 0:19:06 | |
Shame about the blasted coffee ring. | 0:19:08 | 0:19:11 | |
Got the look of a halo ... | 0:19:11 | 0:19:13 | |
Yeah, well. To him, she was always a saint. | 0:19:13 | 0:19:16 | |
Oh, God, yes. Ironic after yesterday. | 0:19:25 | 0:19:29 | |
Me with my imaginary friend. | 0:19:29 | 0:19:31 | |
Polly and Orez. "Oreth"? | 0:19:31 | 0:19:34 | |
Name my mum came up with because she was half Spanish. | 0:19:34 | 0:19:37 | |
Tickled me at the time, all those funny little Latin references | 0:19:39 | 0:19:44 | |
when I was growing up. | 0:19:44 | 0:19:46 | |
Oh, God, it was never going to be easy, was it? | 0:19:49 | 0:19:53 | |
Come on, shall we... Shall we go and eat? | 0:19:53 | 0:19:56 | |
# Some mysteries our hearts Cannot conceive | 0:20:00 | 0:20:04 | |
# And when the story-teller's Tale is spun, and we are one | 0:20:04 | 0:20:09 | |
# BOTH: What secrets will The Yellow Room reveal? # | 0:20:09 | 0:20:17 | |
I'm in front of 1,500 people back there, for God's sake. | 0:20:22 | 0:20:25 | |
This bloody thing keeps coming back on. | 0:20:25 | 0:20:27 | |
-Night. -Night, darling. | 0:20:27 | 0:20:29 | |
Look, it's ridiculous! | 0:20:29 | 0:20:31 | |
SHE GASPS | 0:20:35 | 0:20:37 | |
KNOCK AT DOOR | 0:21:05 | 0:21:07 | |
-Darling, can I leave these with you to sign? -OK. | 0:21:07 | 0:21:10 | |
-Some children from my old ballet school. -Just a sec, Zelda. | 0:21:10 | 0:21:14 | |
They thought you were sensational tonight! When you have the time. | 0:21:14 | 0:21:18 | |
-Yes! Surely. -Bye, my darling. -Night, Zelda. | 0:21:18 | 0:21:22 | |
Oh, Chloe! Tu etais parfaite ce soir... | 0:21:22 | 0:21:25 | |
SHE WINCES | 0:21:28 | 0:21:30 | |
SHE CRIES OUT | 0:22:01 | 0:22:04 | |
Juno? Are you all right in there? | 0:22:04 | 0:22:07 | |
Mon Dieu! Oh, my precious one! | 0:22:10 | 0:22:15 | |
What in the name of God? | 0:22:17 | 0:22:20 | |
Someone get an ambulance and ring for the police! | 0:22:20 | 0:22:24 | |
-What happened? -She's been stabbed! | 0:22:24 | 0:22:27 | |
But how? No-one came in or out of the room, I would have seen! | 0:22:27 | 0:22:31 | |
We all would have seen! There was nobody here! | 0:22:31 | 0:22:34 | |
The whole thing is impossible! | 0:22:34 | 0:22:35 | |
Why am I remembering that Conrad Veidt silent classic, | 0:22:38 | 0:22:41 | |
The Man Who Laughs? | 0:22:41 | 0:22:43 | |
You think they might have gone too far now, in the other direction? | 0:22:43 | 0:22:46 | |
HE CLEARS THROAT | 0:22:48 | 0:22:50 | |
Yes, I know, I know. Oh, Jonathan. This is Hazel. | 0:23:07 | 0:23:13 | |
-Auntie Hazel. -Hello. -My mum's closest friend. | 0:23:13 | 0:23:16 | |
Just always been around, haven't you? | 0:23:16 | 0:23:20 | |
For my dad, especially these last few weeks. | 0:23:20 | 0:23:23 | |
I'm so grateful. | 0:23:25 | 0:23:27 | |
And listen, Polly. One word, if I may, at this difficult time? | 0:23:27 | 0:23:31 | |
Hope. | 0:23:31 | 0:23:33 | |
You know, it's only a week since I lost my mother who was 86, but... | 0:23:34 | 0:23:40 | |
Doesn't make it any easier. | 0:23:40 | 0:23:41 | |
And all I'm saying, and I want you to think about this, | 0:23:41 | 0:23:45 | |
the end can actually be a beginning | 0:23:45 | 0:23:48 | |
if you open your eyes and your mind, to other possibilities. | 0:23:48 | 0:23:51 | |
-What are these? -Well. You tell me, Polly, what you see in them. | 0:23:52 | 0:23:57 | |
Angels, ghosts. The spirits of departed souls who just happen | 0:23:57 | 0:24:02 | |
to have been caught on camera. | 0:24:02 | 0:24:04 | |
This one just takes your breath away. | 0:24:04 | 0:24:06 | |
You see there, in the fountain? | 0:24:06 | 0:24:09 | |
This was my granddaughter, Gracie, who I swear, | 0:24:09 | 0:24:11 | |
had no idea the angel was behind her. | 0:24:11 | 0:24:14 | |
Although she does say that she felt like a cold shiver | 0:24:14 | 0:24:18 | |
-on the back of her neck as she was sitting there. -Go on? | 0:24:18 | 0:24:20 | |
Then there was my Auntie Norma here saying a prayer in the sky. | 0:24:20 | 0:24:25 | |
OK, yes, with her hands pressed together. | 0:24:25 | 0:24:27 | |
That was taken ten years to the day after she died. | 0:24:27 | 0:24:29 | |
PHONE RINGS | 0:24:29 | 0:24:31 | |
-QUIETLY: -Jonathan Creek. | 0:24:31 | 0:24:33 | |
Now, obviously I know, there's a lot of people just think this is | 0:24:33 | 0:24:36 | |
all completely cranky, but... | 0:24:36 | 0:24:38 | |
My God! No, that's erm... Yeah. | 0:24:38 | 0:24:43 | |
Distinctly odd. | 0:24:43 | 0:24:45 | |
Hang onto those, I've got copies. | 0:24:45 | 0:24:48 | |
And I'm just writing you a link now to a website, | 0:24:48 | 0:24:53 | |
-that just gave me so much comfort. -Thank you. | 0:24:53 | 0:24:57 | |
Well, weird or what? That was Zelda. | 0:24:57 | 0:25:00 | |
Yellow Room producer? | 0:25:00 | 0:25:02 | |
Juno Pirelli, the star of the show, is in hospital in a coma. | 0:25:02 | 0:25:06 | |
They found her last night in her dressing room | 0:25:06 | 0:25:08 | |
after the performance, stabbed in the stomach. | 0:25:08 | 0:25:11 | |
And from what she's just told me... | 0:25:11 | 0:25:12 | |
Please don't say it. | 0:25:12 | 0:25:14 | |
Not a bloody impossible crime. | 0:25:14 | 0:25:17 | |
Ooh, now, then. Do I hear the words "work experience"? | 0:25:17 | 0:25:21 | |
They are thinking perhaps some kind of crazed fan | 0:25:23 | 0:25:26 | |
with an obsession about the story in the show. | 0:25:26 | 0:25:29 | |
But in the show, of course, we explain... | 0:25:29 | 0:25:31 | |
The injuries had all occurred before the character went in the room. | 0:25:31 | 0:25:34 | |
Yes, but here only ten minutes before, not a mark on her body. | 0:25:34 | 0:25:38 | |
I saw with my own eyes! | 0:25:38 | 0:25:40 | |
Morning! How are you today, Polly? | 0:26:08 | 0:26:10 | |
-Wasn't sure if I'd still find you here. -No, well... | 0:26:12 | 0:26:15 | |
We were overdue some downtime from the office, so... | 0:26:15 | 0:26:18 | |
Question is, I suppose, | 0:26:21 | 0:26:23 | |
whether I can bear to imagine anyone else living here. | 0:26:23 | 0:26:26 | |
Or whether it's fate, in a way, that's brought us back... | 0:26:27 | 0:26:31 | |
You all right today, Hazel? You look as though you've seen a ghost. | 0:26:31 | 0:26:34 | |
OK, OK. | 0:26:43 | 0:26:45 | |
Early intimations only, but... A crime of passion, we can fairly assume. | 0:26:45 | 0:26:50 | |
A lover, very much her senior, age 50-51, possibly 52. | 0:26:50 | 0:26:55 | |
A tall man. Somewhat simian in appearance. In excess of 6'. | 0:26:55 | 0:26:59 | |
Disproportionately long arms and big hands. | 0:26:59 | 0:27:01 | |
And, dare I venture, no mean athlete in the bedroom department. | 0:27:01 | 0:27:05 | |
We know from the angle of penetration the blade was inserted from below. | 0:27:05 | 0:27:09 | |
The victim's in a state of undress, yet comfortable with her | 0:27:09 | 0:27:11 | |
assailant's proximity. They were clearly embracing. | 0:27:11 | 0:27:14 | |
The force of the blow implies recoil. Witness three grey hairs | 0:27:14 | 0:27:16 | |
on the door where the back of his head made contact. | 0:27:16 | 0:27:19 | |
The position gives us his height. The colour, his age. | 0:27:19 | 0:27:21 | |
Very early 50s. Any older would make the liaison improbable. | 0:27:21 | 0:27:24 | |
A dead wasp in the saucer - has to be recent. | 0:27:24 | 0:27:26 | |
But swatted against the wall too high up, | 0:27:26 | 0:27:28 | |
too far across, for all but our elongated giant to reach. | 0:27:28 | 0:27:31 | |
The thickness of the magazine he rolled up bears testament | 0:27:32 | 0:27:35 | |
to the girth of his grip. | 0:27:35 | 0:27:36 | |
His sexual prowess? | 0:27:36 | 0:27:37 | |
Such an ungainly man surely had some allure. | 0:27:39 | 0:27:41 | |
As for his means of exit... | 0:27:41 | 0:27:43 | |
Of course. | 0:27:54 | 0:27:56 | |
She could have climbed on a chair and used both hands? | 0:27:56 | 0:28:00 | |
And I've seen a grey angora sweater hanging on that hook in there. | 0:28:02 | 0:28:06 | |
But then, what do we know? | 0:28:08 | 0:28:10 | |
Have to make a start tomorrow, I suppose, on the dreaded clothes. | 0:28:12 | 0:28:16 | |
If anything's guaranteed to finish me off... | 0:28:16 | 0:28:19 | |
All these people who talk about catharsis and closure. | 0:28:19 | 0:28:22 | |
I know. As if grief can be just stuffed into a black bin liner | 0:28:22 | 0:28:27 | |
and sent to Oxfam. | 0:28:27 | 0:28:29 | |
You've had a long day. | 0:28:31 | 0:28:32 | |
Come on. | 0:28:33 | 0:28:34 | |
So how did all that go this morning, at the theatre? | 0:28:38 | 0:28:42 | |
Are you any the wiser about what happened? | 0:28:43 | 0:28:46 | |
Oh, I dunno. | 0:28:46 | 0:28:47 | |
What's that about the torch being passed to the new generation? | 0:28:48 | 0:28:52 | |
Think I may just be getting very old. | 0:28:53 | 0:28:55 | |
Yeah, well, I wasn't going to tell you this, | 0:28:57 | 0:28:59 | |
but while you were there I had another visit from our friend Hazel. | 0:28:59 | 0:29:03 | |
And if you thought those photographs took the biscuit... | 0:29:05 | 0:29:07 | |
It's like she had this weird story she absolutely swears is true. | 0:29:08 | 0:29:12 | |
'You remember last week she told us her mother died? | 0:29:15 | 0:29:18 | |
'86, apparently, but still had her own house. | 0:29:18 | 0:29:21 | |
'And after she left here yesterday, she went up to the crematorium | 0:29:23 | 0:29:27 | |
'to collect the ashes. Took them back there to scatter in the garden. | 0:29:27 | 0:29:31 | |
'Suddenly, her phone rings...' | 0:29:32 | 0:29:34 | |
PHONE RINGS | 0:29:34 | 0:29:35 | |
-'..and they go everywhere.' -Oh, no! | 0:29:37 | 0:29:40 | |
-Hello? -'The phone call's from her next door neighbour | 0:29:40 | 0:29:43 | |
'to say that the cat has got out of the house onto a busy main road, | 0:29:43 | 0:29:45 | |
'so in a mad panic, she has to dash straight out again. | 0:29:45 | 0:29:48 | |
'Couple of hours later she comes back | 0:29:48 | 0:29:51 | |
'ready to clear it all up. | 0:29:51 | 0:29:53 | |
'Except now they've gone. | 0:29:55 | 0:29:57 | |
'They've completely vanished from the room, | 0:29:57 | 0:29:59 | |
'and she's absolutely adamant there was nobody else in the house, | 0:29:59 | 0:30:02 | |
'it was all locked up, she was the only one with a key. | 0:30:02 | 0:30:05 | |
'There were no windows open, no draughts or breezes, | 0:30:05 | 0:30:07 | |
'or anything that could have got to them. | 0:30:07 | 0:30:09 | |
'It was like, in her words, it was just as if...' | 0:30:09 | 0:30:12 | |
God must have taken her... | 0:30:12 | 0:30:14 | |
..to heaven. | 0:30:16 | 0:30:17 | |
So, is that it then, do you think? | 0:30:19 | 0:30:21 | |
It's a terrible thing when your mind starts to go. | 0:30:22 | 0:30:25 | |
And to think what a loyal friend she was to my mum. | 0:30:27 | 0:30:29 | |
And such a tower of strength, at the end, when she... | 0:30:32 | 0:30:35 | |
HE SNORES | 0:30:35 | 0:30:36 | |
# Apparition born in hell | 0:30:43 | 0:30:48 | |
# Ghostly, ghastly | 0:30:48 | 0:30:50 | |
# Through the gloom... # | 0:30:50 | 0:30:52 | |
OK, time to dive in, I suppose. | 0:30:53 | 0:30:56 | |
Is it me or is there something different here? | 0:30:56 | 0:30:59 | |
This was her last performance, same night as the stabbing. | 0:30:59 | 0:31:03 | |
Off someone's phone in the audience. | 0:31:04 | 0:31:07 | |
Dunno. Maybe not quite the same passion? | 0:31:10 | 0:31:13 | |
Bit of an off-night, maybe. | 0:31:15 | 0:31:17 | |
Hmm. I'll come and give you a hand in a bit. | 0:31:17 | 0:31:20 | |
No rush. | 0:31:21 | 0:31:22 | |
How you getting on? OK? | 0:32:00 | 0:32:01 | |
What have you found? | 0:32:03 | 0:32:05 | |
I dunno. Looks like a note from my mum just before she died. | 0:32:05 | 0:32:09 | |
Virtually unreadable. | 0:32:10 | 0:32:11 | |
I remember she could barely hold a pen by that time. | 0:32:11 | 0:32:14 | |
"My Dearest Peter, | 0:32:14 | 0:32:15 | |
"I have just one final heartfelt request..." | 0:32:15 | 0:32:18 | |
I think that is. "Under the... | 0:32:19 | 0:32:21 | |
"something, something or other you'll find a box. | 0:32:21 | 0:32:25 | |
"Please, please destroy without opening. Cathy." | 0:32:25 | 0:32:29 | |
"Under the thin backroom." | 0:32:30 | 0:32:33 | |
Bedroom, is it? | 0:32:33 | 0:32:34 | |
Bedroom! Bedroom... | 0:32:36 | 0:32:38 | |
-Flowerbed? -Floorboard, maybe? | 0:32:40 | 0:32:41 | |
Er... | 0:32:41 | 0:32:43 | |
"Under the third bedroom floorboard, | 0:32:43 | 0:32:45 | |
"you'll find a box." | 0:32:45 | 0:32:48 | |
PHONE RINGS | 0:32:48 | 0:32:49 | |
Hello? | 0:32:56 | 0:32:58 | |
Oh, hi, Hazel, how are you? | 0:32:58 | 0:33:00 | |
This afternoon? | 0:33:02 | 0:33:04 | |
Erm... Well, I suppose I could. | 0:33:04 | 0:33:07 | |
What time? | 0:33:07 | 0:33:08 | |
Third bedroom floorboard. | 0:33:11 | 0:33:12 | |
Third floorboard, but from which end? | 0:33:14 | 0:33:16 | |
Or try both... | 0:33:18 | 0:33:19 | |
Ahh! | 0:33:47 | 0:33:48 | |
-Oh, my God! -Is that you in there? | 0:33:50 | 0:33:52 | |
Yes! | 0:33:52 | 0:33:53 | |
God Almighty, you scared me to death! | 0:33:53 | 0:33:55 | |
Sorry, I was just under the third bedroom floorboard. | 0:34:03 | 0:34:06 | |
This is the third bedroom and this has got to be the floorboard. | 0:34:06 | 0:34:10 | |
It's the only one that's not nailed down. Fairly obviously. | 0:34:10 | 0:34:13 | |
Maybe he did find it, and did exactly as she asked him to... | 0:34:15 | 0:34:17 | |
Hang on a sec. | 0:34:19 | 0:34:21 | |
What did she say? Please destroy without opening? | 0:34:26 | 0:34:29 | |
Yes, bugger that. | 0:34:29 | 0:34:30 | |
I'm so sorry. | 0:35:04 | 0:35:06 | |
Not really what you wanted on top of everything else. | 0:35:06 | 0:35:09 | |
Two years... | 0:35:09 | 0:35:11 | |
-looks like this was going on. -Thank God he didn't find them. | 0:35:11 | 0:35:14 | |
Sounds as if it got pretty heavy, on both sides. | 0:35:16 | 0:35:19 | |
You imagine? | 0:35:19 | 0:35:21 | |
Behind his back... | 0:35:21 | 0:35:23 | |
for two years. I... | 0:35:23 | 0:35:24 | |
I can't believe it. | 0:35:26 | 0:35:27 | |
And Septimus? | 0:35:29 | 0:35:31 | |
-Who the bloody hell is Septimus? Septimus who? -Hmm. | 0:35:31 | 0:35:34 | |
These all her books in this room, I take it. | 0:35:49 | 0:35:52 | |
What? | 0:35:52 | 0:35:53 | |
God, you think you know people. | 0:35:55 | 0:35:57 | |
Someone you grew up with your whole life! | 0:35:57 | 0:36:00 | |
And you realise you actually never knew them at all. | 0:36:01 | 0:36:03 | |
Oh. I didn't hear you go out. | 0:36:10 | 0:36:12 | |
Yep, just up the road. Had to get an orange, so... | 0:36:12 | 0:36:16 | |
Right. For any particular reason or just...? | 0:36:17 | 0:36:21 | |
No. Just when I was in that dressing room I saw something. | 0:36:21 | 0:36:26 | |
Corner of my eye... Didn't sit right. | 0:36:26 | 0:36:29 | |
Sometimes if you can get back in the moment | 0:36:30 | 0:36:32 | |
and recreate the association, one thing'll trigger the other. | 0:36:32 | 0:36:35 | |
So where is it you're going again? You did say. | 0:36:39 | 0:36:41 | |
Oh, this Hazel woman. What was that all about again? | 0:36:41 | 0:36:44 | |
Her mother's ashes. | 0:36:46 | 0:36:47 | |
She went to collect them the other day, from the crematorium | 0:36:47 | 0:36:50 | |
-and when she got back... -That was it. | 0:36:50 | 0:36:53 | |
That was it. | 0:36:53 | 0:36:55 | |
-Sawjoy. On the picture. -What? | 0:36:55 | 0:36:58 | |
Signature of an artist on a big abstract painting | 0:36:58 | 0:37:00 | |
that was on her wall. | 0:37:00 | 0:37:01 | |
You have to say, that was odd. | 0:37:03 | 0:37:04 | |
Sawjoy? Does sound very made-up. | 0:37:04 | 0:37:07 | |
What's that got to do with anything? | 0:37:07 | 0:37:10 | |
Erm, no, the fact that it sounds made-up is not what was odd. | 0:37:10 | 0:37:13 | |
Sorry, you were saying? About Hazel. | 0:37:13 | 0:37:15 | |
I'll tell you when I get back. | 0:37:16 | 0:37:18 | |
I mean, no, when you think | 0:37:23 | 0:37:25 | |
I knew her probably better than anyone, but Septimus? | 0:37:25 | 0:37:29 | |
No, I never heard her mention that name before, ever. | 0:37:29 | 0:37:33 | |
-Septimus who? -Well, exactly! And it's all there, in black and white. | 0:37:33 | 0:37:38 | |
Stuff they got up to, you've no idea. | 0:37:38 | 0:37:40 | |
Talk about a shock to the system. | 0:37:41 | 0:37:43 | |
Anyway, look, thanks so much for popping round. | 0:37:43 | 0:37:46 | |
I do appreciate it. Erm, shall we? | 0:37:46 | 0:37:49 | |
So, when you said on the phone about grasping the nettle this afternoon, | 0:37:52 | 0:37:57 | |
what exactly did...? | 0:37:57 | 0:37:59 | |
Sorry, has there been a power cut? | 0:37:59 | 0:38:01 | |
Patience, I think, Polly, is all that's required. | 0:38:01 | 0:38:06 | |
You see... | 0:38:06 | 0:38:07 | |
..I know she's here. | 0:38:08 | 0:38:10 | |
PHONE RINGS | 0:38:25 | 0:38:26 | |
Jonathan! | 0:38:29 | 0:38:31 | |
Hi, is this a good moment? It's Ridley. | 0:38:31 | 0:38:34 | |
Yeah. Hi, Ridley, How you doing? | 0:38:34 | 0:38:35 | |
Surprisingly well, surprisingly well. | 0:38:35 | 0:38:37 | |
Though hobbled for a while, I must admit, | 0:38:37 | 0:38:40 | |
by the ingenuity of a master strategist in this case, | 0:38:40 | 0:38:44 | |
who relied upon us all accepting the prima facie evidence | 0:38:44 | 0:38:48 | |
of an attack that took place within the woman's dressing room. | 0:38:48 | 0:38:50 | |
Crucially, the upward incision of the blade, | 0:38:50 | 0:38:52 | |
which meant the assailant had to be standing close against the victim. | 0:38:52 | 0:38:55 | |
But did it? | 0:38:55 | 0:38:56 | |
Take the pieces of this puzzle apart. The direction of the wound, | 0:38:56 | 0:38:59 | |
the copious bleeding on the floor, and put them back together again, | 0:38:59 | 0:39:03 | |
and a very different picture emerges... | 0:39:03 | 0:39:05 | |
..of a lithe young singer-dancer, we know looks after her body, | 0:39:07 | 0:39:10 | |
and with her nightly work-out presents the perfect inverted target | 0:39:10 | 0:39:15 | |
for a weapon with a disappearing missile. | 0:39:15 | 0:39:17 | |
Oh! | 0:39:25 | 0:39:27 | |
Coolly constructed in every sense, who would suspect a crossbow | 0:39:33 | 0:39:36 | |
firing a shard of frozen blood? | 0:39:36 | 0:39:39 | |
Designed to kill and then instantly melt away without trace. | 0:39:39 | 0:39:43 | |
OK? Yeah, er... | 0:39:43 | 0:39:46 | |
I see where you're coming from, Ridley. I certainly missed that one. | 0:39:46 | 0:39:49 | |
Elementary, my dear Holmes. | 0:39:49 | 0:39:50 | |
And, based on some other research, I've got a pretty good idea now | 0:39:50 | 0:39:53 | |
about the identity of the perpetrator, | 0:39:53 | 0:39:55 | |
which, with everyone's indulgence, I was planning on... | 0:39:55 | 0:39:58 | |
Holmes... | 0:40:06 | 0:40:08 | |
Holmes! | 0:40:09 | 0:40:10 | |
You know what, Hazel, I really will need to be getting along in a minute, | 0:40:31 | 0:40:34 | |
-because... -Wait! | 0:40:34 | 0:40:36 | |
What's that? | 0:40:36 | 0:40:38 | |
A presence! | 0:40:38 | 0:40:39 | |
You feel it, Polly? | 0:40:41 | 0:40:43 | |
Like a kind of faint vibration, almost. In the air. | 0:40:43 | 0:40:47 | |
MACHINERY WHIRS | 0:40:52 | 0:40:55 | |
MACHINE BLEEPS MELODICALLY | 0:41:23 | 0:41:25 | |
Oh, God, are you serious? | 0:42:08 | 0:42:10 | |
Actually I was thinking I might drop by there again, | 0:42:10 | 0:42:12 | |
so if you were going to be around then maybe... | 0:42:12 | 0:42:16 | |
Yeah, OK. | 0:42:16 | 0:42:17 | |
Thanks, Zelda, bye. | 0:42:17 | 0:42:19 | |
Oh, hi. You were a while. | 0:42:21 | 0:42:24 | |
Things all seem to be hotting up, | 0:42:24 | 0:42:26 | |
apparently, on the Yellow Room front, so... | 0:42:26 | 0:42:28 | |
Yes, well, we've cleared up one mystery there at any rate. | 0:42:28 | 0:42:31 | |
An urn full of ashes she spills all over her mother's carpet, | 0:42:32 | 0:42:35 | |
went away for a couple of hours | 0:42:35 | 0:42:37 | |
and when she gets back they've just disappeared. | 0:42:37 | 0:42:39 | |
Without any explanation. And do you know what it was? | 0:42:39 | 0:42:43 | |
Robot vacuum cleaner? | 0:42:43 | 0:42:45 | |
Pardon? A robot vacuum cleaner! | 0:42:45 | 0:42:48 | |
Do you not think that's the most absurd unlikely scenario | 0:42:49 | 0:42:52 | |
you could possibly imagine? | 0:42:52 | 0:42:54 | |
So...was it? | 0:42:55 | 0:42:56 | |
Yes. | 0:42:59 | 0:43:00 | |
Programmed for half past three, as it turns out, by the old dear | 0:43:01 | 0:43:04 | |
-every afternoon. -Makes sense. | 0:43:04 | 0:43:06 | |
OK! | 0:43:06 | 0:43:08 | |
OK, well, maybe you can make sense of this. | 0:43:08 | 0:43:12 | |
On a tombstone in the churchyard directly behind my mother's grave. | 0:43:17 | 0:43:20 | |
I mean, it can't just be a coincidence. | 0:43:20 | 0:43:23 | |
Except that he died at least three years before those love letters | 0:43:23 | 0:43:26 | |
-were written. -Septimus Noone. | 0:43:26 | 0:43:28 | |
No, I'd say that far from being a coincidence, | 0:43:31 | 0:43:33 | |
it fits in with everything else here absolutely perfectly. | 0:43:33 | 0:43:37 | |
Only, one thing at a time, I'm afraid. | 0:43:37 | 0:43:40 | |
I'm going to need you to run me back to the theatre, if you would. | 0:43:41 | 0:43:47 | |
Our young friend Ridley's asked them all to assemble on the stage | 0:43:47 | 0:43:50 | |
at six cos he wants to announce his big solution, | 0:43:50 | 0:43:54 | |
which, as you can imagine, is completely preposterous, | 0:43:54 | 0:43:57 | |
but arguably no more preposterous than the real solution, | 0:43:57 | 0:44:01 | |
which, unfortunately, there's only one way to confirm now. | 0:44:01 | 0:44:05 | |
By going back into that dressing room. So... | 0:44:05 | 0:44:07 | |
..whenever you're ready. | 0:44:09 | 0:44:11 | |
Jonathan? | 0:44:28 | 0:44:29 | |
(OK, you know what to do. I just need three minutes.) | 0:44:33 | 0:44:37 | |
(I can't! I can't do this sort of thing! | 0:44:37 | 0:44:39 | |
(How am I supposed to just suddenly pretend to scream in agony?) | 0:44:39 | 0:44:42 | |
(I don't know. | 0:44:42 | 0:44:43 | |
(Remember when you got halfway through Piers Morgan's memoirs? | 0:44:43 | 0:44:46 | |
(Just call on some of that.) | 0:44:46 | 0:44:48 | |
Aaaaah! | 0:45:01 | 0:45:03 | |
Oooh! | 0:45:03 | 0:45:05 | |
-Oh! -Oh, my God, are you OK, madam? | 0:45:06 | 0:45:09 | |
Yeah, I just fell down the stairs. Ooh! Aahh! | 0:45:09 | 0:45:12 | |
Let me take your weight. It's OK. OK. | 0:45:12 | 0:45:15 | |
-Steady. Up on the step. Let's have a look. -OK. | 0:45:17 | 0:45:20 | |
I can't believe we're all taking this seriously! | 0:45:23 | 0:45:26 | |
And who is this Ridley person anyway? | 0:45:26 | 0:45:28 | |
Well, he seems to be making more progress than the police over here, | 0:45:28 | 0:45:30 | |
but we have to wait and see. | 0:45:30 | 0:45:32 | |
From what they're saying at the hospital, | 0:45:32 | 0:45:35 | |
this could soon be a murder inquiry. | 0:45:35 | 0:45:37 | |
What are you doing here? | 0:45:45 | 0:45:47 | |
Rachel, come on! | 0:45:47 | 0:45:49 | |
Come on. | 0:45:49 | 0:45:51 | |
This is scary. | 0:45:51 | 0:45:53 | |
Did you hear what she said? | 0:45:53 | 0:45:54 | |
A murder inquiry. | 0:45:55 | 0:45:57 | |
I don't think it's broken. Let's just... | 0:46:01 | 0:46:03 | |
-Let me just feel. -Ooh! | 0:46:03 | 0:46:05 | |
My husband's here, thanks ever so much. | 0:46:08 | 0:46:11 | |
-Yeah, that's great. -Oh, my pleasure. Just take it easy. | 0:46:11 | 0:46:14 | |
-Thank you. -Yeah, bye. | 0:46:14 | 0:46:15 | |
And, now, we're looking for...? | 0:46:23 | 0:46:25 | |
Make-up artist named Darryl Kimble, I think, has to be our man. | 0:46:25 | 0:46:29 | |
KNOCK AT DOOR | 0:46:32 | 0:46:33 | |
Hi, sorry, I wonder if you have a minute. My name's Jonathan Creek. | 0:46:36 | 0:46:40 | |
Oh, right, yes. The amateur sleuth who's come to enlighten us all | 0:46:40 | 0:46:43 | |
about the other night! | 0:46:43 | 0:46:44 | |
Goodbye! | 0:46:44 | 0:46:46 | |
Erm... | 0:46:46 | 0:46:47 | |
Yes... | 0:46:49 | 0:46:51 | |
It's Darryl, isn't it? | 0:46:51 | 0:46:52 | |
Fairly obviously there's someone here that you and Juno | 0:46:54 | 0:46:58 | |
were both really desperate to protect. | 0:46:58 | 0:47:01 | |
I just wondered how sure you are still you made the right call. | 0:47:01 | 0:47:04 | |
Everyone, can I have your attention, please? | 0:47:12 | 0:47:14 | |
Let me introduce you, Mr Ridley, | 0:47:17 | 0:47:19 | |
who is here very kindly to help us resolve Juno's attack. | 0:47:19 | 0:47:22 | |
Thank you very much. | 0:47:22 | 0:47:24 | |
OK. I know this is a little irregular. | 0:47:24 | 0:47:27 | |
But Zelda's very kindly said I might present a few thoughts to you | 0:47:27 | 0:47:30 | |
tonight, about how I think that attack really took place... | 0:47:30 | 0:47:34 | |
and, more importantly, who was responsible. | 0:47:34 | 0:47:38 | |
Someone, I would venture to suggest, who is here with us today | 0:47:38 | 0:47:42 | |
in this very building. | 0:47:42 | 0:47:44 | |
In the original story of the Yellow Room, | 0:47:44 | 0:47:47 | |
the whole solution revolves around an injury sustained | 0:47:47 | 0:47:50 | |
before the victim entered the bedchamber. | 0:47:50 | 0:47:52 | |
No way that could have happened here | 0:47:53 | 0:47:55 | |
because Juno Pirelli had been clearly seen by her director | 0:47:55 | 0:47:58 | |
minutes earlier, completely unscathed. | 0:47:58 | 0:48:01 | |
Or was there something already troubling her that night? | 0:48:01 | 0:48:04 | |
Enough to slightly put her off her game in one or two arias, | 0:48:05 | 0:48:09 | |
something potentially life-threatening that had been | 0:48:09 | 0:48:12 | |
very skilfully covered up. | 0:48:12 | 0:48:14 | |
The name on that picture, Sawjoy. | 0:48:15 | 0:48:19 | |
OK, slightly unusual, but not as unusual as the position | 0:48:19 | 0:48:22 | |
in the top left-hand corner instead of the bottom right. | 0:48:22 | 0:48:26 | |
Made me wonder how easy it would've been for someone in a hurry to have | 0:48:28 | 0:48:31 | |
taken it down at some point, | 0:48:31 | 0:48:33 | |
and then put it back again the wrong way up. | 0:48:33 | 0:48:36 | |
I imagine the artist, Beverley Holmes, | 0:49:10 | 0:49:12 | |
might have been a little put out, but... | 0:49:12 | 0:49:14 | |
After that, there was no way for you to get back in there without | 0:49:14 | 0:49:17 | |
being seen, so whatever it was had to still be there. | 0:49:17 | 0:49:20 | |
She'd convinced herself... | 0:49:33 | 0:49:35 | |
she'd convinced me that was just superficial. | 0:49:35 | 0:49:37 | |
We'd get it patched up, it would heal. | 0:49:39 | 0:49:42 | |
Maybe... | 0:49:42 | 0:49:43 | |
Well. | 0:49:44 | 0:49:46 | |
Guess now we'll never know, will we, whether something else happened that set it all off. | 0:49:46 | 0:49:51 | |
Yes, she was stupid, yes, she was mad. | 0:49:53 | 0:49:55 | |
But she was mad for the right reasons. | 0:49:55 | 0:49:57 | |
And thank God for people like that sometimes, you know? | 0:49:57 | 0:49:59 | |
God bloody bless her, is all I've got to say. | 0:50:02 | 0:50:05 | |
I'm sorry. Any more than that, you're not going to get from me. | 0:50:08 | 0:50:12 | |
..that would find its target and then simply melt away, | 0:50:14 | 0:50:17 | |
completely undetected. | 0:50:17 | 0:50:19 | |
More to the point, | 0:50:19 | 0:50:20 | |
who would have a grievance strong enough to construct such a plan? | 0:50:20 | 0:50:24 | |
Someone, we may suppose, | 0:50:24 | 0:50:26 | |
on the verge of hysteria. Emotionally unbalanced, | 0:50:26 | 0:50:29 | |
who was prepared to go to any lengths to wreak their revenge. | 0:50:29 | 0:50:33 | |
A crime of passion, love spurned, recriminations, | 0:50:33 | 0:50:37 | |
irrational and real, nausea, jealousy and hate. | 0:50:37 | 0:50:40 | |
Who else could it point to, but the tuba player, who she'd already... | 0:50:40 | 0:50:45 | |
PEOPLE SCREAM | 0:50:45 | 0:50:47 | |
Rachel! | 0:50:49 | 0:50:51 | |
Yeah, I'm sorry you had to see that. | 0:51:38 | 0:51:42 | |
Sorry I had to see that?! | 0:51:42 | 0:51:43 | |
I sometimes wonder, Jonathan, exactly what I married! | 0:51:45 | 0:51:48 | |
Free admission for life to the Twilight Zone? | 0:51:48 | 0:51:51 | |
If it's not phantom knife-wielding stalkers or ghostly human remains | 0:51:51 | 0:51:56 | |
suddenly vanishing in the... Now what are you looking for? | 0:51:56 | 0:51:59 | |
Ah! I did see it here, I thought I had. | 0:51:59 | 0:52:02 | |
That web link she wrote down for you. | 0:52:04 | 0:52:06 | |
If I'm not mistaken, it tells us everything we need to know | 0:52:07 | 0:52:11 | |
-and all that other. -Oh, God. What? | 0:52:11 | 0:52:15 | |
A little slower, please, would be nice. | 0:52:15 | 0:52:17 | |
The letters of Septimus Noone. | 0:52:17 | 0:52:20 | |
The name, you know I said | 0:52:20 | 0:52:22 | |
fitted in perfectly well with everything else here? | 0:52:22 | 0:52:26 | |
Everything from a book collection that includes | 0:52:26 | 0:52:28 | |
the works of Dylan Thomas and Samuel Butler, | 0:52:28 | 0:52:30 | |
to that imaginary friend of yours you had when you were a child. | 0:52:30 | 0:52:34 | |
Easiest thing, I think, would be to make one brief detour on the way back. | 0:52:34 | 0:52:38 | |
No. My gosh. | 0:52:41 | 0:52:42 | |
I'm impressed. | 0:52:44 | 0:52:45 | |
Considering the time it took | 0:52:46 | 0:52:49 | |
and all the trouble I went to to disguise the writing. | 0:52:49 | 0:52:52 | |
Of course, I was rather pleased with myself at the time. | 0:52:52 | 0:52:56 | |
The writing, oddly, I never questioned. | 0:52:56 | 0:52:58 | |
It was the paper. | 0:52:59 | 0:53:01 | |
Most people, if a letter's too wide for the envelope, | 0:53:01 | 0:53:06 | |
fold it a couple of times down the long way and then across. | 0:53:06 | 0:53:10 | |
Your way's more distinctive. | 0:53:10 | 0:53:13 | |
I'd say it's verging on unique. | 0:53:17 | 0:53:21 | |
I'm just writing you a link now to a website that just gave me | 0:53:21 | 0:53:26 | |
so much comfort. | 0:53:26 | 0:53:27 | |
Why, Hazel? For what possible reason? | 0:53:29 | 0:53:33 | |
You don't think we argued? My head against her brick wall. | 0:53:33 | 0:53:37 | |
And how could I refuse her anything at that stage? | 0:53:38 | 0:53:42 | |
As soon as she knew her time was running out... | 0:53:42 | 0:53:47 | |
Believe it or believe it not, the whole idea | 0:53:48 | 0:53:51 | |
was to try and lessen the grief. | 0:53:51 | 0:53:53 | |
He'd find the letters, and... | 0:53:55 | 0:53:57 | |
She just had this horror, you see, | 0:53:58 | 0:54:00 | |
of him moping about over her memory, for the rest of his days. | 0:54:00 | 0:54:05 | |
If she could somehow discredit herself in his eyes, | 0:54:05 | 0:54:09 | |
at the very end, she just thought... | 0:54:09 | 0:54:12 | |
..well. | 0:54:16 | 0:54:17 | |
Thank God it never came to anything. | 0:54:18 | 0:54:20 | |
So, Erewhon by Samuel Butler, | 0:54:28 | 0:54:31 | |
a place he famously invented, as "nowhere" spelt backwards. | 0:54:31 | 0:54:34 | |
And Llareggub backwards, the village in Under Milk Wood. | 0:54:34 | 0:54:40 | |
"Bugger all." | 0:54:40 | 0:54:42 | |
I know, but how you could just zero in on those two titles, | 0:54:42 | 0:54:46 | |
out of all this lot. | 0:54:46 | 0:54:47 | |
Yeah, the rule of three that made it just about plausible. | 0:54:47 | 0:54:51 | |
Zero. Imaginary friend, whose name, in reverse, meant "nothing." | 0:54:51 | 0:54:56 | |
She loved words. And playing with words, but... | 0:54:56 | 0:54:59 | |
trust you to make that connection. | 0:54:59 | 0:55:01 | |
A name she must have seen God knows how often in that churchyard. | 0:55:01 | 0:55:05 | |
If she's wondering what to call this non-existent lover... | 0:55:05 | 0:55:09 | |
Septimus Noone... | 0:55:09 | 0:55:10 | |
Was actually Septimus No-One. | 0:55:10 | 0:55:13 | |
So, he'll be back at uni then, now, Ridley? | 0:55:32 | 0:55:35 | |
I trust he didn't find the whole experience a waste of time. | 0:55:35 | 0:55:38 | |
Oh, no way. No, no. | 0:55:38 | 0:55:40 | |
Admits he's still got a lot to learn, but... | 0:55:40 | 0:55:43 | |
-No, he'll be back. -Oh, good. | 0:55:43 | 0:55:47 | |
And you've made the right decision, I'm sure, about this place. | 0:55:47 | 0:55:50 | |
Why would you want to live anywhere else? | 0:55:50 | 0:55:52 | |
Yes, well, I wasn't too sure at first. | 0:55:52 | 0:55:53 | |
There's been one or two very creepy moments round here, I have to say. | 0:55:53 | 0:55:57 | |
Oh, finding those old love letters of your mother's. | 0:55:57 | 0:55:59 | |
And what was even weirder, the very next moment | 0:55:59 | 0:56:02 | |
-that halo suddenly vanishing from her photo. -That was creepy. | 0:56:02 | 0:56:06 | |
Like, a coffee ring on the page that was there one minute, | 0:56:06 | 0:56:09 | |
and then miraculously gone. | 0:56:09 | 0:56:11 | |
But you know what, some of that lateral thinking must be rubbing off, | 0:56:11 | 0:56:14 | |
because it was when I thought about that painting being the wrong way up, | 0:56:14 | 0:56:18 | |
I suddenly remembered that's a, a partner's desk in there, | 0:56:18 | 0:56:21 | |
which means the back of it's exactly the same as the front. | 0:56:21 | 0:56:24 | |
And what if the top section had somehow been turned around | 0:56:24 | 0:56:27 | |
to face the other way? | 0:56:27 | 0:56:29 | |
Which, guess what, when we checked, is exactly what we found. | 0:56:29 | 0:56:32 | |
At some point in the past, evidently, | 0:56:32 | 0:56:34 | |
the desk had been moved around the room, and that page from the paper, | 0:56:34 | 0:56:37 | |
he put in there to save had just ended up against the wall. | 0:56:37 | 0:56:40 | |
The one with the ring on it, obviously another copy altogether, | 0:56:40 | 0:56:44 | |
we just happened to find in that pile of books. | 0:56:44 | 0:56:46 | |
Except, who would have gone in there to move the top of a desk around? | 0:56:46 | 0:56:50 | |
We couldn't imagine. | 0:56:50 | 0:56:52 | |
I mean, there's been no-one else in the house. | 0:56:52 | 0:56:55 | |
Apart from people like yourself, at the funeral the other day. | 0:56:55 | 0:56:58 | |
Ridley? I can't find Ripley. We'll have to go. I'm so sorry. | 0:57:06 | 0:57:10 | |
We'll have to go. | 0:57:10 | 0:57:11 | |
Ripley? | 0:57:16 | 0:57:19 | |
Ripley? | 0:57:19 | 0:57:20 | |
SHE GIGGLES | 0:57:26 | 0:57:28 | |
Stay there. | 0:57:32 | 0:57:33 | |
-What shall we do?! -We switch the desk. -What?! | 0:57:33 | 0:57:36 | |
We take everything off, turn it round, and then it's done. | 0:57:36 | 0:57:38 | |
-We put everything back. -Fine. | 0:57:38 | 0:57:40 | |
-This side's exactly the same as this side. -Right. | 0:57:40 | 0:57:42 | |
-Three, two, one! -Oh! -Oh! | 0:57:44 | 0:57:47 | |
Oh, God. | 0:58:05 | 0:58:06 | |
Polly... | 0:58:06 | 0:58:08 | |
Jonathan... | 0:58:08 | 0:58:10 | |
What can I say? | 0:58:10 | 0:58:11 | |
WATER RUNNING | 0:58:11 | 0:58:12 | |
Listen, I don't know when you're thinking of starting a family, | 0:58:16 | 0:58:19 | |
but, you know what they say about space. | 0:58:19 | 0:58:21 | |
No-one can hear you scream? | 0:58:21 | 0:58:24 | |
Make the most of it? | 0:58:24 | 0:58:25 |