All language subtitles for New Tricks - S06E04 - Shadow Show

This clip was posted
on the lnternet a week ago.

lt was brought
to my attention

by Lord Gransford
at the Home Office.

-Good to know he's not
overworked.

lt was actually spotted
by his wife.

She used to be a film
actress -- Gloria Wakefield.

She was involved
in this production.

MAN.: ''Shadow Show'' 4,
take 2. Mark it.

And. . .actionl

You really don't get it,
do you?

You're my propertyl

l can do what l like with you
and, when l've finished,

l can throw you away,
like a used Kleenex.

l can make you disappearl
-Ohl

-[U.S. accent] l don't give
a damnl Let me through herel

The clip appears
to show footage

from a film called
''Shadow Show,''

which was being shot
at Pinewood Studios in 1 990

and the people
in the clip are

Eva Roderick,
in her first movie role;

Max Stone, the producer;

and Don Maddox -- that's him,
there -- the director.

STANDlNG: Maddox, didn't he
used to be an actor?

He started out as an actor,
moved into directing.

People once talked about him
as the new Orson Welles.

They don't talk
about him at all, now.

''Shadow Show''
was never completed

and he never directed
a movie again.

But if it's 1 990,
why is it in black and white?

[Mobile ringtone]

Pick the bones out of that.
l've got to go to a meeting.

Sandra will get you
up to speed.

''Don Maddox's
current project

is intended to have
a retro, noirish quality,

taking us back to the cinematic
ambience of the 1 940s.''

God help us.
-[Chuckle]

When l saw the word ''retro,''
l thought of UCOS.

On the day this scene was shot,
Eva Roderick disappeared

under suspicious
circumstances

and Max Stone was found
fatally stabbed

in the chest,
in his studio office.

LANE: And what was the outcome
of the investigation?

There wasn't enough evidence
to put anyone in the frame,

but the original inquiry
was told nothing

about any violent behavior
from Maddox towards Eva

or any dispute
between Maddox and Stone

and, in fact,
the schedule said

that there was no shooting
taking place that day.

So why is someone putting this
stuff out on the lnternet now?

-Yeah, and who's doing it?
-Where'd they get the footage?

Well, the filming was abandoned,
but, apparently,

all the existing footage was
seized by the financial backers

and destroyed,
as being valueless.

-But is what we're seeing
what actually happened,

or just a bit of trendy,
smartarsed fiction?

That's a complicated issue.
Give that here.

Apparently,
''Shadow Show''

was supposed to be --

wait for it --
oh, yeah.

''A reflexive,

poststructuralist exploration
of the nature of film itself.''

A black and white film
about films?

Now that's a real
J. Arthur Rank.

WATERMAN: # lt's alright,
it's okay #

# doesn't really matter
if you're old and gray #

# lt's alright,
l say, it's okay #

# listen to what l say #

# lt's alright,
doin' fine #

# doesn't really matter
if the sun don't shine #

# lt's alright,
l say, it's okay #

# we're gettin' to
the end of the day # #

SubRIP by docent{mults.org

Right, take out
the witness statements.

Brian and l will start
by talking to Don Maddox.

-ls he still going,
then?

''Shadow Show'' finished him
as a film director,

but he's still working,
apparently.

He directs the odd commercial
and does voiceovers.

Okay, you and Jack go
to Pinewood Studios.

Check out the original
crime scene.

-Hey-hey,
Pinewood Studios, eh?

Takes you back,
don't it?

The great days
of British cinema.

Do you remember Saturday Morning
Pictures when we were kids?

# We come along
on Saturday mornings #

[Joining in] # Greeting
everybody with a smile #

PULLMAN:
Get on with it!

# We come along # #

Yeah, cinema meant a lot
to me when l was a teenager.

l'll never forget what l felt
at the end of ''Summer Holiday.''

-Really?
-Yeah.

[Chuckling] Pauline Grady
slapped me face for it.

Oh, man, do you see that?
-HALFORD: See what?

l'm trying to navigate
round this maze.

STANDlNG:
We're in a dream factory.

HALFORD: Looks like
any other factory to me.

So where are we now?

Must be down here,
somewhere.

[Horn honks]
-Mind your back.

HALFORD: Good grief!

lt's fantastic,
innit?

LANE: The wife of this
Home Office geezer,

Lord Gransford.

-Gloria Wakefield.
Yeah, what about her?

She didn't just act
in the film,

she actually found
Max Stone's body, yeah?

-Yeah. We'll be talking
to her later.

Come on,
Don Maddox is here.

MADDO X.: You really
don't get it, do you?

You're my propertyl

l can do what l like with you
and, when l've finished,

l can throw you away,
like a used Kleenex.

l can make you disappearl

[Slap]
RODERlCK.: Ohl

S TONE.: l don't give a damnl
Let me through herel

So the clip shows you
assaulting Eva Roderick,

threatening
to make her disappear,

which she did,
that very day.

And, yet,
in your witness statement,

you make no reference
to the incident. Why not?

Because it was
a nonevent, dear.

What's going on there is
dramatic fiction.

lt's not true. lt's like all
those wonderful confessions

the police used to obtain
before they used tape recorders.

So you're telling us that,
up to the point

when Max Stone intervenes,

this is following
the ''Shadow Show'' script?

Yes, of course.

-Well, to me that looked
and sounded

like a real slap
round the face.

My business is
the art of illusion.

Have you got a copy
of the script?

l'm a cinematic auteur,
not a bloody librarian.

lt was my movie; l know
what was meant to be in it.

There was no filming
scheduled for that day

and, yet, the fact that
you were on set

wasn't mentioned
in any of the statements.

-No, because we shouldn't
have been.

lt was completely
out of order.

Look, l was trying to do
something experimental

with ''Shadow Show.''

You can't expect
the bean counters

to understand
that sort of thing.

Who do you mean?

-Executives, accountants,
producers.

ln their terms,
l was way over budget,

but not a great deal of usable
footage to show for it,

so l put together
a skeleton crew,

dipped my hand
in the petty cash,

and tried to save
the picture.

Max Stone found out about it
and barged in on me.

You're saying that's
what we see in the footage,

Stone's telling you to stop
this unscheduled filming?

Yes.

So who was in this
skeleton crew of yours?

Charlie Prentice,
died of lung cancer, 2001 ;

Doug Potter,
heart attack, 2006;

and Malkie Miller,

last heard of in jail
on drugs charges

in Oaxaca, Mexico, 1 996.

-So we've only got
your word for what happened.

Tough.

We have availability
on C Stage,

with offices
and dressing rooms,

for three months,
beginning September.

Phoebe will have the quote with
you by close of business today.

-Thank you for seeing us.
l'm Jack Halford.

This is Gerry Standing.
-Morning.

Lotte Davenport,

l'm the operations manager
of the Studios.

-We're reinvestigating
the death of Max Stone

and the disappearance
of Eva Roderick,

here in the Studios,
1 990.

Yeah, they were filming
''Shadow Show,''

directed by Don Maddox.

-That's all before my time,
l'm afraid.

Of course, we're well
acquainted with Mr. Maddox.

He's booked in to use

the dubbing theater
this week, actually.

ls there any chance
that we could have a look

at the crime scene?
-l'm sorry?

Block A, the offices
and dressing rooms.

Yes, they're free right now.
-[Telephone rings ]

Phoebe will point you
in the right direction.

[Whispering]
HALFORD: Thank you.

-Lotte Davenport.
Oh, hi, Tom. How are you?

-What was your relationship
with Eva Roderick, Mr. Maddox?

She was the love
of my life.

You were, at the time, still
married to Gloria Wakefield.

What in the world would that
have to do with it?

Do grow up, Brian.

-Your wife was in the cast
of ''Shadow Show'', wasn't she?

There'd have been hell to pay,
if l'd left her out.

Of course, in the end there
was hell to pay, always is.

ln your original statement,
you said

that you were alone with Eva
all through the afternoon

that Stone was murdered,

which the footage shows
to have been a lie.

An economy
with the truth.

So what did happen?

Well, Max Stone was the boss, so
l had to close down the shoot.

Then l went back with Eva
to her dressing room

and we spent the rest
of the time there together,

as l said.

The starlet's
dressing room.

You can imagine all sorts
going on in a place like this,

know what l mean?

-Yes, Gerry, l know
exactly what you mean.

-[Chuckles]

-So you and Eva

spent the rest of the afternoon
together, until. . .?

We were disturbed
by the banshee wailing

of my then-wife.

l left Eva and rushed upstairs
and found Gloria,

going for an Oscar,
with Max Stone's body.

Are you saying she was faking
her emotional reactions?

Gloria's never done
anything else.

But don't
misunderstand me.

Max Stone was belly-up,

with a pair of scissors
sticking out of his chest.

Gloria couldn't
have done that.

Really?

She only stabs
in the back.

But, besides,
there was blood

all over the place,
but none on Gloria.

She'd obviously clocked
the situation from the doorway

and decided to keep
her Versace trousers clean.

Well, according to this,

back then,
there was a sofa there.

-Yeah, right, and the body was
found just here, wasn't it?

-And the only bloodstains
there were

were in front of the sofa,
here, on the carpet.

-So that would suggest
he's standing

in front of someone,
wouldn't it?

Somebody stabbed him!
-Oh, no! You -- Ohh!

Like that,
and he falls down.

Very good.

Help us up.

-lt's always easier going down
than it is getting up.

-Tell me about it.

-Coffee?

l called security,
they got the police,

and, in the middle of all this,
l thought about Eva.

l rushed downstairs
to the dressing room,

but she'd gone.

Before the murder,
was Eva disturbed

or distressed
about anything?

Eva was a very disturbed
and distressed person.

She'd been brought up
in care;

she'd been through a couple
of bad relationships.

You know she overdosed on
tranquillizers twice before?

Yeah, it was mentioned
in the original inquiry.

When you say ''before,'' you mean,
this time, she was successful?

Perfectly bloody obvious.

lt's far from obvious:
her body was never found.

The kid had tried it before
and been brought back.

This time, she wanted
to make it permanent.

She didn't want
to be found.

What was Eva's relationship
with Max Stone?

Employer and employee,
that's all.

PULLMAN: Would she have
any reason for killing him?

-She couldn't have killed him;
she was with me.

Pity she's not around
to give you an alibi.

But then, you could've
killed them both.

But l didn't.

Thank you,
that's most helpful.

Thank you,
that's most helpful.

Bye-bye.

Her Ladyship will grant us
an audience tomorrow morning.

l've managed to track down
another one

of the original
interviewees.

Oh, yeah?

-Yeah, David Snaith, director
of photography on ''Shadow Show.''

He worked with Maddox
on all his films.

Although
they weren't supposed

to be filming that day,
he was at the studios.

Reckons he was running
lens tests on a new camera.

Well, Maddox
didn't mention him

as one of his skeleton
crew, did he?

Maybe because he's still
alive and kicking,

and still
in the movie industry.

He lives
in Gerrards Cross.

Right, l'll get Jack
and Gerry to talk to him.

-This may or may not
be relevant,

but he's got previous:
possession of Class A drugs.

Ah, well, that's
Gerrards Cross, for you --

[Whispering]
full of surprises.

[Knocking]

Tell you what --
l'll go and check

with the neighbors.
-Right.

Hello?!
Mr. Snaith?

[Doorbell rings]

Oh, hello.
l'm Gerry Standing.

l work with
the Metropolitan Police.

Oh, yeah?

Yeah. We're trying
to contact David Snaith.

l haven't seen him
for a week or so.

But he's often away,
on location, you know?

-Oh, yeah, yeah.

Does anyone else
live there?

-No, not since
his friend moved out.

''Friend''?
-Billy.

Billy. . .?

Don't know his other name.

-And you wouldn't know how
to contact him, l suppose?

No, afraid not.

-Well, did they work together
in the film business?

No idea what he did.

Something creative,
probably.

Yeah?
-Nice fella.

Well, if you see Snaith,

could you tell him
we'd like to talk to him?

And Billy.

ls this your number?

Thank you.

Any luck?

-No, she hasn't seen him
for over a week.

Thinks he might be
''on location.''

-Oh. Well, that's enough
of the glamour

of show business for one day.
Come on.

-[Chuckle]

[Thudding]

Brian!
What are you doing?!

Brian?

Hessian grenadier.
Ah, not in bad shape.

Apart from his head.

ls that what you've been
looking for?

No, it is not. Yo-yo.

Yo-yo?
lt's in the brown suitcase,

under the damp patch.

[Clatter]
-Oh!

Oh, brilliant!

Hey-hey!

See? You never lose
the knack.

[Sigh]
What's brought this on?

-Well,
we're investigating

a murder at Pinewood Studios
and we were talking

about the old
Saturday Morning Pictures

and l was thinking about
the yo-yo competitions.

What, like who's got
the biggest?

No, no, we used to
learn to do tricks.

You know, walking the dog,
looping the loop,

rocking the baby.

-Saturday Morning Pictures.

l was out
in God's fresh air,

doing good deeds
with the Brownies.

With walking the dog,
you had to get the yo-yo

to carry on spinning
at the bottom of the string

and then you lightly touch it
on the ground,

so it rolls along
of its own accord.

Only, you're still
holding the string,

so it's like you're
walking a dog.

Oh, well,
that's a winner.

[Tsk]
The string'll be binding

on the spindle.

-Hmm, l didn't really go
to the pictures

'til l was much older.

Ohh, God, l remember
how much l wanted to see

''Lawrence Of Arabia,''

hmm, and then l missed
about half of it.

Overwhelmed
by passionate kisses.

[Chuckle]

Thank you for seeing us,
Lady Gransford.

-Not at all.
-Thank you.

-But, really, there's
very little l can tell you.

lt seems like another world.
lt was so terribly long ago.

-1 9 years? lt's not so long,
not at our age, eh?

Another life, Mr. Lane.

l have no connection
with that world any longer.

-But you still check out old
movie clips on the lnternet.

A harmless indulgence,
like Googling yourself.

lf you happen to be
somebody.

A. . .

At the time ''Shadow Show''
was in production,

were you aware that Don Maddox
was shooting extra footage

without the producer's
knowledge?

No, but it doesn't
surprise me.

Don was always falling out
with his producers.

-You said, in your
original statement,

that you went to see
Max Stone that afternoon

on a ''business matter.''

Could you tell us more
about that?

Well, the truth is,
l wanted him

to do something
about the situation.

What situation
was that?

-My then-husband was carrying on
an affair with Eva Roderick.

He made no attempt
to disguise the fact

or to spare my feelings.

l was being humiliated
in front of my colleagues.

-Had you confronted him
about this behavior?

That would have been
a waste of time.

You have to understand
that Don is

an emotional
and physical bully.

Humiliating me
meant nothing to him.

He deliberately reduced me
to tears on set,

time after time.

lt was his way of dealing
with actresses.

Lady Gransford, l have to ask
you, why would Max Stone

have taken your part
in all of this?

Because he fancied
Eva himself.

That was obvious.

The little tart jumped
on Don's casting couch

to get her first job
in pictures,

but she knew where
the serious money was.

She was playing up to Max Stone,
and he wanted her.

There's been a development.
Some more film's been posted.

-And it might be the whole
sequence. Have a look.

MAN.: ''Shadow Show'' 4, take 2.
Mark it. And. . .actionl

-You really don't
get it, do you?

You're my propertyl

l can do what l like with you
and, when l've finished,

l can throw you away,
like a used Kleenex.

l can make you disappearl

[Slap] -RODERlCK.: Ohl
-You do what l tell you to do.

S TONE.: l don't give a damnl
Let me through herel

This has gone far enough.
Stop this, right herel

Aahl

Ow.
-Cut, for Chri--

So what do you make
of that?

Let's think about
what we've got here.

Maybe what we're seeing is

Maddox bullying an actress
for real,

which, according to his wife,
he's got form for.

-Well, if it's real,
it looks like

Max Stone's intervening
to protect Eva.

He fancied Eva
for himself.

And they came to blows.
-So what happened to Eva?

Well, if Gloria's
to be believed --

That's a big ''if.''

-Eva was playing Maddox
and Stone against each other.

So maybe Maddox murdered both
of them, out of jealousy?

lt's a theory.

Yeah, well, that was then, 1 990.
What about now?

Why has this stuff suddenly
being posted on the 'Net?

-lt's giving a lot of grief
to Maddox.

-Yeah, and who'd want
to do that?

-Anyone who's ever
met him, actually.

-[Chuckle]

-lt could be Gloria.
She's still got it in for him.

She was the first to flag it up.
-Hmm.

But if it's just malice, why is
it coming in dribs and drabs?

Maybe there's more to come.
-What if there's evidence

of a real crime and someone
is saying to Maddox,

''l've gone public with this,
but there's a lot more''?

Yeah, a bit of blackmail.

Maddox might be finished
as a movie director,

but he's still worth
a few bob.

Okay, Brian, let's go
and talk to Maddox again.

-Ah!

''Lawrence Of Arabia.''

What about him?

The film.

As far as l remember,
l only saw that once,

with Jimmy Greenbanks,
the librarian.

Passionate kisses
never came into it.

You don't altogether
surprise me, Brian.

-He never ceases
to surprise me.

[Soothingly]
MADDOX: Uncertainty,

[Soothingly]
MADDOX: Uncertainty,

anxiety, and tension.

Ahem, l'll go again.

Uncertainty,

anxiety, and tension.
-Cheers.

That's life
in today's world.

We all feel the pressure.

But now,
science has the answer

to constipation.

Highlax.:

it takes the weight
off your mind.

Oh, look lively,
it's Lilly Law.

l'm workingl
This is harassmentl

How do l talk to him?

-Through there.

-Um --

We've got new evidence
to discuss!

[Sigh]

My propertyl

l can do what l like with you
and, when l've finished,

l can throw you away,
like a used Kleenex.

l can make you disappearl

RODERlCK.: Ohl
-You do what l tell you to do.

S TONE.: l don't give a damnl
Let me through herel

This has gone far enough.
Stop this, right herel

Aahl
-Ow.

MADDO X.: Cut, for Chri--
-Uh, Mr. Maddox.

Sorry, dear,
l'm in police custody.

We don't seem to have
any response from you

about settling
your accounts.

l don't deal with the
small change, sweetheart.

Talk to my people.

Or you can write to me,
care of Strangeways.

My money's on Broadmoor,
actually.

So what was all that
about, then?

-''lt's like deja vu
all over again.''

[Snaps fingers]
Sam Goldwyn.

[Laughing]
Very good, Brian.

You really are
a world-class

anorak,
aren't you?

Producer interferes
with director's shoot,

director invites him
to piss off --

everyday life
in the movie business.

What,
physical violence?

-Well, it is a bit unusual,
but not unheard of.

-One more thing

that wasn't mentioned
in your witness statement.

-No. Max Stone had been
found dead.

lf l'd said we'd been
in a fight, well,

it would've given
a misleading impression.

lt would've been
the truth.

So what happened after
the exchange of blows?

We both realized
we were behaving

like middle-aged
buffoons.

We cleaned ourselves up

and Max Stone closed down
the shoot, as l said!

And then Stone
was murdered.

Not by me.

Going back to the assault
on Eva Roderick.

According to
your ex-wife --

-Oh, Lady Godiva's
stuck her oar in, has she?

According to Gloria,

you habitually abused
actresses on set.

She reckons you frequently
reduced her to tears.

-The only way to get
a performance out of Gloria.

She's got the emotional range
of a petrol pump.

Did you bully Eva?

Not by my standards.

As l said, what you saw
in the footage was fiction.

You always worked
with David Snaith

as your director
of photography.

Every picture you made,
including ''Shadow Show.''

-Yes.

-Did he shoot
this footage?

-Yes, he did.

You didn't mention him
in your last interview.

No.
-Why not?

Dave was a bit uncomfortable
about working on the cheap.

He wouldn't want it known.

This is a police
investigation, Mr. Maddox.

From now on,

we'd like the whole
truth, please.

-Yeah,
sorry about that.

-And David Snaith will confirm
your version of events, will he?

-Absolutely, yes.

[Sip]

Yeah, that's terrific.

Yeah,
thanks very much.

Computer forensics --
they can tell

where the first posting
originated from:

an lnternet cafe
in Gerrards Cross.

Where Snaith lives.

Yeah, he's moving nicely
into the frame.

Shame we can't find him.
-There may be a lead.

Mr. David Martin Snaith
and Mr. William Patrick Radford

gave notice of intention
to register

a civil partnership
a couple of months ago,

though the partnership was not,
in fact, registered.

We got anything on this
''William Radford''?

He describes himself
as a ''cinematic craftsman.''

l looked him up.

He works for a firm
in the Studios.

Well, he's got to be
worth talking to.

He certainly has.

William Radford?

-Billy Radford, yeah.

Jack Halford.
This is Gerry Standing.

We work with
the Metropolitan Police.

Oh, right.
So what can l do for you?

We'd like to talk to you
about David Snaith.

Right. Do you mind
if we take this outside?

Oh, sure, sure.

-Fascinating job you've got,
making all these props.

Well, prosthetics, actually.
-Yeah?

ls it for a horror film?
-Yeah, ''Curse of the Pharaoh''?

Oh! Oh, l love
a good horror flick.

Do you remember
''The Devil Rides Out''?

Uh, no.

Huh? You remember it,
don't you?

-l don't like horror films.
-No?

PULLMAN: Apparently, there are
tons of paper records

in the vaults here, and most
of it's never been archived.

-Oh, so there might be some
documentation on ''Shadow Show.''

-Well, good
to know whether

Don Maddox is bullshitting
us, isn't it?

-Mm-hmm. Do you want me
to have a look, then?

-lt's your kind
of thing, Brian.

-What?

-Are you all right?

-lf l can't rely
on me memory,

then l've lost me USP,
haven't l?

me whole
raison d'etre.

-l wouldn't go that far.

-Well, in respect of
''Lawrence of Arabia,''

can it be
playing me false?

-l dunno, Brian,
you've lost me.

MAN: And. . .action!

-Dave was really good
to me.

He gave me my start
in this business.

STANDlNG: Yeah, weren't you
planning a civil partnership?

-Yeah, we thought we had
a future together.

lt didn't really work out.

HALFORD: Do you know
where he is now?

-We haven't been in touch
since we broke up.

He could be
out of the country.

He's been doing a lot
of work in Eastern Europe.

-Did he ever mention
about working with Don Maddox

on a film called
''Shadow Show''?

-Yeah, he really rated
Don Maddox;

he thought he was one
of the great directors.

-Do you know if he's
in possession

of any of the footage
from the film?

-l'm not aware of that.

l realized
there's lots of things

l didn't know about Dave;
that's why we broke up.

-What sort of things?

-Look, l don't want
to drop him in it.

-This is a murder
investigation, Mr. Radford.

ln your own interests,
you'd be well advised

to tell us everything
you know, right now.

-The reason
l split up with him was

l found out he'd been
lying to me.

-What about?

-Drugs. He promised me
he was clean, but hey-ho.

MAN: And. . .cut!
Lovely; thank you.

Ah!
Shooting schedule, 1 987.

Getting warm.

Of course, either Esther or l
could be confusing

''Lawrence Of Arabia''
with ''Doctor Zhivago.''

'89.

Which would be a bad sign,
in itself.

[Laughter]
-Still is true, yeah.

[Whispers]
-[Laughs]

Oh, guv'nor, guv'nor.

Oh, Miss Davenport.

Oh, excuse me.

-Apropros of your
earlier conversation,

would you say
that Don Maddox has

financial problems,
of any kind?

Not that l know of.

He's just tight-fisted
and obnoxious.

[Chuckle]
Thank you.

-l've found a script!

[Cheering]
-MAN: Hey-hey!

[Annoyed]
Sit down, Brian.

[Whispering] l've found
a script for ''Shadow Show.''

Let's have a look.

The scene posted on the lnternet
doesn't exist in this script.

So Maddox is definitely
having us over.

Maddox has been giving us
a load of lies from the start.

He now admits that Snaith
shot the bootleg footage.

The lnternet postings came
from Snaith's neighborhood,

but he disappeared
when they started.

And his ex-boyfriend

said he was well dodgy.

He could be running
a blackmail scam from abroad,

but then why post the footage
from Gerrards Cross?

Well, if we can't
find him, let's

give his place the once-over.
-After lunch.

PULLMAN:
That's Don Maddox's car.

HALFORD: What's he
doing here?

PULLMAN: Just dropping by
on the off-chance, were you?

Look, l'd better tell you,
there seems to have been

a break-in.
-Oh, does there?

-l couldn't get an answer,
so l checked round

at the back door --
it's been forced.

-l'd better take a look.
Wait here.

l'll be wanting
to talk to you.

[Beep-beep,
beep-beep ]

Looks like there's been
a bit of an altercation here.

[Beep-beep,
beep-beep ]

[Beep-beep, beep-beep ]

[Beep] You have four
new messages.

[Prolonged beep]

GRANSFORD.:
Good morning, Dave.

lt's about time
we got together again.

Get back to me.
-lt's Gloria.

Her Ladyship?
-Yeah, who has

[Baby voice] ''No connection
with that world any longer.''

[Laughs]
-[Prolonged beep]

Dave, get back to me,
please.

[Prolonged beep]
Me again.

Look, l've tried your mobile,
got no response.

[Shakily] l really need --
l really need a meeting.

[Prolonged beep]

Get back to me, you bastard.
You know what it's like.

l don't think she wants to
discuss the servant problem.

No.

Look, l admit l wanted

to talk to Dave to, uh,
make sure our recollections

were compatible,
that l hadn't. . .

inadvertently
forgotten anything.

Was there anything in Snaith's
possession that you wanted?

-l don't know
what you mean.

-Evidence relating
to the events of 1 990.

-More incriminating
footage.

l just wanted
to talk to him.

No one answered
the front door,

so you just broke in
the back way,

is that right?

-l know how it looks,
but the fact is,

as soon as l saw the door
had been forced, l left.

Hmm, rather briskly.

l knew how it looked!

-A thorough forensic
examination of Snaith's house

is currently in progress;
you'll be asked to provide

fingerprints,
as well as a DNA sample.

lf you've been in that house,
we'll know about it.

[Chuckle]

God, l'm gasping
for a coffee.

-Yeah, go on, then.

Listen, we just had an email
from the search team.

They found
dealing quantities

of cocaine
on the premises.

So Snaith's doing
business, is he?

-Well, Maybe that's
what Lady Gloria's

getting her knickers
in a twist about.

PULLMAN: We'll ask her.
-They also found bloodstains,

not fresh,
same group as Snaith.

First, Eva, then Snaith --
isn't it funny,

how people tend to disappear
when Don Maddox is around?

Yeah, but if Maddox
killed Snaith

some time ago,

what's he doing, lurking
round the house today?

-Well, if we go with
the blackmail scenario,

Maddox confronts Snaith,
kills him, and decides

his first priority is
to get rid of the body.

Any chance of a coffee?

-Oh, sorry.

But he believes there may be
compromising material

at Snaith's house,
so he goes round to check.

Have l given up coffee,

or something?

Dave's been my dealer
for something like 20 years.

[Voice breaking]
l can't go anywhere else.

The papers would crucify
my husbandl

l trust Dave.

PULLMAN.: Well, it looks like
he's let you down, now.

-He wouldn't just leave me
without a stashl

Whenever he goes away,
he makes sure

l've got enough
to get by.

l really,
really need help.

PULLMAN.: Yeah, you do,
and, when we're done here,

l'll put you in touch
with a recovery program.

[Standing snorts]
-[Sigh]

LANE.: You were in a very
vulnerable position

with Dave Snaith.

Did he ever try and extort
extra cash from you,

by threatening
to expose your problem?

-Dave's a friendl
A dear, dear friend.

He's not a blackmailerl

Something must've
happened to him.

l've been worried
about him

ever since he got involved
with that little shitl

PULLMAN.: Sorry,
who are we talking about?

-Billy Radfordl

LANE.: And why
were you worried?

-Radford beats him up.

Dave's had to go to
hospital more than once.

He won't involve
the police

and he won't finish with
that evil, little creepl

-Let's go.

-He --
He owes Dave everything.

Dave found him
in the gutter and. . .

gave him his start
in the film business.

Cheers, Jack.
Radford's legged it.

Seen leaving his flat with
a backpack and a laptop bag.

-Okay, tell him we'll
meet them at the Studios.

-Have you got that?
Yeah.

That is interesting.
Right.

How do l turn this off?

-Red button, Brian.

-Hmm. Gloria got it
a little bit wrong.

Billy Radford wasn't
in the gutter

before he got
into the film industry.

He had a steady,
responsible job.

-Doing what?

He worked
in a mortuary,

embalming cadavers
and organs.

-[Breathy chuckle]

Sorry to drag you out,
Miss Davenport,

but it's important.

Here's the warrant.

-Yes, okay.

DAVENPORT: We'll get
the lights switched on.

Ah. Yeah, this is
where he was working.

What would they be made of?
-Molded resin, l suppose.

Hollow?
-Mm-hmm.

[Sniffing]

Well, l'm no expert,
but l don't think

molded resin smells
of formaldehyde.

But an embalmed
body would.

Oh!

Well, whatever David Snaith
was guilty of,

he's not going to
reoffend, is he?

Yeah, Det Supt Pullman,
UCOS.

l'm at Pinewood Studios.
We have a suspicious death.

Can you send an M l team
ASAP to my location?

Cheers.

So it's out
of your hands.

The new inquiry is.
We're still on the cold case.

-l bet, when they invented
the lnternet,

they didn't envisage
Web sites

for yo-yo enthusiasts.

You want to see
the video clips.

-l think
l'll give it a miss.

Speaking of matters cinematic,
l'm convinced l saw

''Lawrence of Arabia''
with Jimmy Greenbanks.

-Yes, so did l.

Eh? What about all
the passionate kisses?

-Well, that was Jimmy;
he was very hotblooded.

Well, he had paid
for the tickets

and he bought me
a drink on a stick.

Trouble is,
with all the snogging,

he missed half the picture,
so he had to go see it again

[Laughing] with you,
to find out what happened.

-Why didn't you go
with me?

-Well, we only
went out once.

How long
was l supposed to wait?

l was training
for a major hill climb.

l was barely
out of the saddle.

You wanted to get
your priorities sorted.

Mind you, if you fancy
taking me to the pictures again,

after all these years,
l don't mind.

Sit. Good boy.

l love a good film.

-Hmm. lf you knew what went on
in the making of films,

you wouldn't fancy them.

Same with sausages.

No, l'm sorry, sir,
just don't think

that the team
should be weakened!

Especially when there have been
new developments in the inquiry.

LANE: Morning.

Don't take your cycle clips off,
mate; we've been redeployed.

Eh?

-The team investigating the
Snaith murder is shorthanded

and UCOS has been prevailed
upon to help out.

l'm lending them
you and Jack.

-l've made
my views clear.

Of course,
l fought tooth and nail

to keep the team together,
but there it is.

l mean, you know,
as well as l do,

that we're living in a world
of mixed-economy policing.

-[Giggle]

l'm perfectly serious.

l need to know that you
continue to be on-message.

You've got used to doing things
your own way at UCOS,

but you're going to
have to work very hard

to get up to speed with
approved norms and practices

in a frontline
investigation.

-ln the meantime, Brian,
new footage has been posted.

-Yeah, well, you'd better
take a look at that.

And then report
to your action manager

in the
murder investigation team.

Thank you, Gerry.

Yep.

[Beep]

Ew, pervy.

Yeah. l'm familiar with
this sort of stuff.

Vice squad.

Yeah, BDSM : bondage,
domination, sadomasochism.

Anything like this
in the shooting script?

LANE: No.

-Maybe Maddox is making
his own private porn movie.

-Maybe he was making
a snuff movie.

Stone is killed because he finds
out and tries to interfere.

LANE: Snaith's the cameraman.
He hangs on to the footage.

-Radford discovers it
and pulls it off Snaith.

LANE: Snaith tries
to stop him, gets killed.

-So Radford puts the black
on Maddox.

Right, let's get round
to the murder team

and tell them
that we've cracked it.

What?!

-All we need is
a bit of proof, Jack.

STANDlNG: Good luck!
-Luck? We don't need luck!

We're up to speed on
approved norms and practices.

Black-market policing.

HALFORD: Exactly.

Oh! At least there's
one friendly face here.

-Hello, love!
Not all robocops, then.

-Hello, Emily.

We're looking
for the action manager.

-Yeah, we're the action men.

[Laughs]

l'm the action manager.

Oh, right.
-Congratulations.

Follow me!
Now you might not be familiar

with the action-led
inquiry system,

so l'll run through it
with you.

l issue the actions,
which will then be placed

in your dedicated
pigeonholes.

Now, an action could be

interviewing
a particular witness,

collating and listing
exhibits, and so forth.

Well, actually, Emily,
we're more --

-lf l could just finish.
l'll take any questions later.

Now, each action will be
placed in priority order --

high, medium, and low --

and that's the order
that you'll deal with them.

Now, the completed action will
then be returned to my office

and l'll process them
through the computer system.

[Whispering]
The thing is, love,

we can cut through
all this crap.

Pardon?

[Whispering] We reckon Snaith
was killed by his ex-boyfriend,

Radford, because Snaith had
material that Radford wanted

so he could blackmail
the chief suspect

in the UCOS
investigation.

-A clapped-out
film director called Maddox.

lt's all one case,
really.

So you can just
leave it all to us.

We'll find Radford
and Bob's your uncle.

And Fanny's your aunt.
-Ha ha.

You're not running
this investigation.

That is

the senior investigating
officer's job, okay?

Understood.
-We're up to speed.

-We're aware of the UCOS
investigation's findings.

Now, your actions
have been assigned, so. . .

welcome onboard.

Hmph.

''Catalog and conduct

preliminary examination
of exhibits

from search
of Radford premises.''

-Yeah, same here.
''Priority: low.''

Never mind what was
or wasn't in the script --

that's not the point.

l admit l haven't been
telling you the truth.

So do it now.

You have to understand
about Max Stone.

He was a bit
of a throwback.

He acted like a Hollywood mogul
from the '30s and '40s.

-Meaning what, exactly?

He thought any actress in one
of his films was his property.

He couldn't take no
for an answer.

-So you saw eye-to-eye with him
about some things, then.

lt wasn't like that between
Eva and me -- we were in love.

You believe that or not.

The point is,
Stone pressured Eva

into joining in his
perverted little games.

What sort of games?

Humiliation, bondage, S&M.
What you see in the footage.

But that's not Max Stone,
that's you.

-[Whispering]
l'm trying to explain.

Eva went along with it
because she knew

''Shadow Show''
was my last chance

and Stone could wipe me out
with a stroke of the pen,

and l did nothing to protect
her, for the same reason.

l wanted to see my name
on the marquee again --

''Shadow Show,
a film by Don Maddox.''

l think l'd have sold
my soul for that.

Maybe l did.

Yeah, but that still doesn't
explain about the clips.

We couldn't confront
Stone directly,

but we wanted to get even,
in our own way,

so l set up the bootleg shoots,
and we built into them

everything Stone did
and said to Eva.

So you're saying it was
a reenactment?

Exactly. A windup,
embarrassing and humiliating

the boss,
in front of everyone.

-l can relate to that.

Except, Stone barged
on to the set, of course.

He found out what we were doing
and you saw the consequence.

lf we were to believe
what you're telling us,

that gives you another
motive for killing him.

But l didn't do it.
-So who did?

No idea. l've told you
all l know of it.

No, l don't think
you have.

What happened to Eva?

Eva killed herself.
We all know that.

Why are you
being blackmailed?

-l'm not being
blackmailed.

So why was the footage
posted on the lnternet?

l don't know.

Mr. Maddox, we believe
that David Snaith

was killed because
of that footage.

Now, whoever did that
thought it was

a little bit more significant
than a showbiz windup.

l can't help you
any further, l'm afraid.

PULLMAN: He's not giving us
the whole picture.

And he knows we know it
and he's rattled.

-We could call in a surveillance
team, keep tabs on him.

-How long would that take
to get going?

-A few days, at least.

-Or we could just do it
ourselves, right now.

-Yeah, we could,
couldn't we?

Preliminary postmortem

and medical records
of David Snaith.

Are you two
making progress?

Yes, just booting up
Radford's computer now.

-Just remember:

we only want a description
of what's on the files.

Anything technical goes
to computer forensics.

Oh, absolutely.
We're totally on-message.

-Good.

Maddox is home.

He's got a big bag full of
goodies from Fortnum & Mason's.

Maybe he's just going to
sit inside and pig out.

You'll just have to wait
and see, won't you?

l don't know, try yoga
or meditation.

No, Gerry,
l said ''meditation.''

Hmm, Facefit.

You mean ''Facebook.''

No, no, this is
something else. lt's --

Let's get it going.

What's all this
in aid of?

-lt's facial-reconstruction
software.

lt's got forensic and
archaeological applications,

but you can see why Radford
would find it useful --

for creating prosthetics.
-Yeah, but he wouldn't be

creating prosthetics
of Eva, would he?

No, what he's doing is seeing
what she'd look like

in various hairstyles
and eye colors,

20 years after
the original photo.

Here you go.
Who does that remind you of?

Oh, she's kind of
familiar.

-[Whispering]
Now, we're supposed to

put all this
in our action report,

so that Emily can feed it
into the computer.

-Well, that's what
we're supposed to do.

He's on the move
and he's coming

in your direction!

Yeah, l see him.

You hold back.
l'll take over.

[Whispering, annoyed]
Now where's he going?!

This place is
a bloody maze!

-l bet that Fortnum's bag
is full of folding.

This is a classic
payoff scenario.

PULLMAN: Ah.

[Mobile rings]
-Agh!

[Ring]
[Whispering] Gerry standing.

Your mates Jack and Brian
have gone AWOL.

They didn't complete
their action reports!

All they did was leave me
a Post-it note

with the oldest excuse
in the book:

''On enquiries''.

Emily, Emily, Emily, l can't
talk now! l'm on inquiries!

-Turn it off!

Lotte's here. She's checked out
the keys for Block A.

-The scene of the crime.

[Maddox speaking]

[Whispering]
l can hear Maddox talking.

-[Whispering] Radford
must've sneaked in already.

Go on.

Oh.

Oh, Christ, it's the
Wicked Witch of the West.

What's going on?

-What does it
bloody look like

and what business is it
of yours?

lf this is just
a clandestine naughty,

what's the wedge
in aid of?

These are private premises;
we're not breaking any laws,

so take your hands
off my property

and piss off!

Don't talk to us
like that!

-Gerry, l think we're
out of order, here.

We made a mistake.
Sorry.

Get back.

Bloody hell.

What we going to do?

-We'll have to send
for armed backup.

-Well, no, that's fine, but what
are we going to do right now?

This really screws things up.
-lt's all there, Billy.

Just take the money and go.
lt's what we agreed.

-l got to hand it to you, Billy,
you played a blinder.

You really got the drop on us,
but do us a favor,

tell us the truth:
why is he paying you off?

What have you got on him?!

You're paid to keep your mouth
shut. Leave it there.

-You've been really
clever, Billy.

You've sussed out what was
going on here way before us

and you've got Don Maddox
by the balls -- well done.

Billy, she's just stalling
'til her mates arrive.

Shut it!

All of you.

Just let me think.

[Telephone rings]

[Billy
breathing heavily]

[Ring]

[Ring]
-Leave it.

Security knows l'm here.
-Leave it.

lf l don't answer,
they'll investigate.

[Ring]

Go on, then,
deal with it.

[Ring]

Lotte Davenport.

lt's for you, Billy.

lt's the police.
They're outside.

They know you're here.

You'd better talk
to them, Billy,

or they'll come in
with all guns blazing

and then God help us.

Sit down.

Hello, Billy.

This is Jack Halford.
Now, listen:

armed police are
surrounding the premises.

We're anxious to resolve
the situation

without harming anyone,

so we're going to
send you a negotiator.

Brian Lane, Billy.

l've come to talk.

Uhh!

We've got plenty of time,
Billy, there's no pressure.

[Shuddering] Can l take
me hands down, Billy?

l get a bit rheumatic

in awkward. . .
postures.

Yeah.

A bit old for this,
aren't you?

You never said a truer word.
l am, indeed, son.

And you know what?

My big ambition is
to get a lot older.

So l'll be looking

to sort this out
without anyone getting hurt

and l believe that's what you
want, too, Billy, isn't it?

Well, it depends.

Yes, of course.

A bit of give and take
from both sides,

that's what negotiation's
all about, eh?

Well, first off,

l'm really pleased
to see

that everyone here's
safe and sound.

You, Billy;

Sandra, Gerry, Don,

and Eva.

Anyway,

l've got
one suggestion,

for openers, Billy.

l know you won't want
to give up the gun just yet.

You still need to be
in control,

that's understandable,

but how about if you
didn't actually point it?

l'd certainly feel

a lot more relaxed,

and that's the way to do
business, isn't it?

[Breathing heavily]

All right.

So what have you got
to say to me?

Thank you, Billy.

l'm feeling
better already.

Can you hang on a minute?
We're trying something.

l know where you're
coming from, Billy.

Desperate situation,
desperate measures.

But things aren't
as desperate as you think.

-Don't try
and bullshit me!

-l'm not!

You beat Dave Snaith up
one last time, didn't you?

-You know very well what l did.
l'm a murderer.

l'm going inside
for 20 years.

-Billy, listen --
-You couldn't negotiate shit!

You can tell your mates
you've screwed up.

l want a car outside
in two minutes,

otherwise,
l start shooting

and she'll be first.
-Now, listen, son!

Leave it, Gerry!
We're still talking!

Billy, listen
to what l'm saying

or you'll be dead
tonight,

along with
God knows who else.

That's not a threat;
it's a fact.

Billy,

l've seen Dave Snaith's
medical records.

He had a history

of degenerative
heart disease.

He'd been warned
by a specialist

that he needed
urgent surgery

and he'd refused.

He could've died

[Snaps fingers]
at any time.

Are you saying l'm not
on offer for murder?

l'm saying things
could be a lot worse.

What you need, son,
is a good lawyer.

Billy --

[Gasp]

When you're in a hole,
just stop digging.

You could do yourself
some good.

LANE: Come on, son.

lt's all over.
You know that.

[Crying]

l'll be leaving here
in about 1 0 minutes.

l'll be leaving here
in about 1 0 minutes.

-Well done, Brian.

-l didn't know you were
a trained negotiator, Brian.

Yes!
He went on a course.

-Oh, right,
l didn't realize.

-[Whispering]
But he failed.

When it came
to the final role-play,

everyone got shot!

-''Win some, lose some.''

-Ugh.

So why did you
have to disappear?

Don't say anything.
-Oh, it's over, Don.

All right,
you can have the truth.

l killed Max Stone.

lt's all down to me.
l'm responsible, end of story.

-No, stop it!
You can't do this!

-After Stone stopped
the filming,

l went to the office and, well,
the argument started again

and l stabbed the bastard
and l'm not sorry.

-Oh, this is all rubbish!
He wasn't there.

-Shut up!
-No, you shut up, for a change.

Max called me
into his office

and he said he was
going to destroy Don.

-Don't do this.

And -- and he said he was
going to do things to me

that l'd be too ashamed
to think about,

never mind put on film.
-Don't do this. Don't.

And he started,
then and there.

And l lost it. . .

[Chuckling]
Oh, l lost it.

And there was Max,
on the floor of his office,

and. . .

l was covered in blood.

You're saying you
killed him?

Yes.

Okay,
what happened then?

Eva called me.

l. . .cleaned the prints
off the scissors and. . .

smuggled her out of the Studios
before the alarm was raised.

But you came back here
to work.

l hid out for a while,

l traveled,
l took cash-in-hand jobs,

but Don was brilliant;
he was always there for me.

And, after a few years,
l realized

that the movie business was
the only life l knew.

The studio was a place
we could meet

without anyone
asking questions.

l knew l was rubbish
as an actress and. . .

ugh, l never, ever, wanted
to be a film star,

but l could do
the back-office stuff.

-l think you do yourself
an injustice, Eva.

You played a blinder
as Lotte Davenport,

for nearly 20 years.

Oh, no.

Eva was
the performance.

Lotte's me.
l went back to my normal weight;

l let my hair grow out.

lt was like being released
from a jail.

[Door opens]
Ready, ma'am.

Cheers.

-However long it takes,
l'll be waiting.

l know.

Hello, love!

Don't ''love'' me. l'm here
to complain to your governor.

-Eh?

Jack and Brian,
they're due for a bollocking.

Oh, you're not still going on
about that, are you?

Look, we got a result,
didn't we?

-What you and your mates
have never really understood

is that results don't make up
for sloppy procedure!

-Oh, cheer up! lt's not as if
they did anything dodgy;

they just worked a bit of
a flanker, that's all.

l'm not having two old chancers
working flankers round me!

l want them disciplined!

-Emily, they're
civilians, like me.

What do they care if there's
a note on their records?

Look, you give them
an official bollocking,

they'll either just
shrug it off or give you

a two-fingered salute and walk;
now, no one wants that, do they?

Well, something's
got to be done.

Yeah, well, there are some good,
old-fashioned, ClD methods

for dealing with
situations like this.

-Look, l've had enough
of old-fashioned ClD methods.

No, listen, l know where to hit
them where it really hurts.

Yeah?

-Yeah. But the idea never came
from me, you understand?

Well, that's another terrific
result for the UCOS team,

and what this demonstrates
conclusively, Fiona,

is that the UCOS
methodology can deliver

on current inquiries,
just as well as cold cases.

-Oh, really?

-Let me run some of the key
strategic decisions past you.

-Excuse me.
[Music plays]

-This is a nice do, Emily.
Can we make a contribution?

-Oh, no, thanks,
that's all taken care of.

-Really?
Who stumped up?

-Jack and Brian.

lt's their fine
for misbehaving on duty.

Good, old-fashioned
ClD tradition. Cheers, boys.

-Thanks
for your generosity.

-My pleasure.
-Enjoy.

-Go on! Let's have a go.
l used to win prizes at this.

Look!

Walking the dog.

PULLMAN: You know, l had
Don Maddox down as a total shit,

but what he did was kind of
romantic, really, wasn't it?

There's no law that says
a total shit can't be romantic.

-ls that right, Gerry?

WATERMAN: # lt's alright,
it's okay #

# doesn't really matter
if you're old and gray #

# lt's alright,
l say, it's okay #

# listen to what l say #

# lt's alright,
doin' fine #

# doesn't really matter
if the sun don't shine #

# lt's alright,
l say, it's okay #

# we're gettin' to
the end of the day # #

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