All language subtitles for Inspector Morse - S06E03 - The Death of the Self.eng

(Scream)

(Scream)

l burn the past.

Andreas...

Goodbye, my darling.

It's over.

lt has to be.

l burn the past.

(Applause)

Patti.

You screwed up your own life, kid.

lt wasn't my fault.

I burn the past.

(Applause)

NicoIe.

No more uncertainty.

No more fear.

I burn the past.

(Applause)

Alistair.

Alistair.

What?

Oh...

For the end of boredom.

I burn the past.

(Applause)

And, May.

Trash.

I burn the past.

(Applause)

Very close now. l promise you

the worst of the pain is over.

That's the toughest thing you'll ever have to do.
Now, can we all join hands, please?

And the directive is: concentrate.
Think, each one of you...it's past...

..it's been destroyed...

it's lost its power.

(Rumble of thunder)

(Church bell tolls)

Midnight.

Congratulations and full marks to everyone,
and the best is to come.

You've got one hour.

Abandon and enjoy it.

You're released.

No. No.

Honest, Russell, not me. l can't.

But it's a deal, Patti. You signed a contract.

Yeah, but l didn't know my own limitations at
the time. l cannot go zooming off into the woods.

Let me take Maureen.
Come on, Maureen, show me the ropes.

- There are no ropes, Patti.
- On you go, Patti.

- Drinks and food back at the villa in an hour.
- Be free. Be yourself.

(To herself) Russell, you are all kinds of a skunk.

(Thunderclap)

Alistair.

ls anyone there? Hello?

Sto cercando mio marito.

Sono fuori in giardino, signora.

Ah. Grazie.

Alistair!

Alistair!

(Screams)

AccidentaI death, Mr Lawrence.

l take it you are satisfied
with the verdict of the ltalian court?

Er, yes. l er...expressed my satisfaction
at the time.

And you're confident the full investigation
was carried out by the ltalian authorities?

Yes, l am.

Do you know of any reason
why l, on behalf of the Oxford court,

should not simply make
a formal endorsement of that verdict?

l'd like to make my position perfectly clear.

In what way?

You were in Oxford
at the time of your wife's death?

Er...yes. My business, the bookshop.

My wife and l spent every summer in ltaly.

We rented a house there.

She found it easier to write.

But on this occasion,
she was attending a course...

..run by The Selfhood Trust?

She thought it would help her.

Um... She was a popular novelist.

She didn't value her popularity.

Mr Lawrence, you mentioned...

your ''own position''.

There was some conniving, some pressure.
There were threats.

You were threatened?

l had no choice...

a-a-at the time.

lf...lf there are to be repercussions...

..then l...l want...

(Sobs)

Perhaps a day's adjournment
would be in order while you compose yourself.

(Sobs)

He's scarpered.
Like a bat out of hell, back to ltaly.

The coroner's agitating for a follow-up.

We know exactly where he is, do we?

Who, Lawrence? Yeah, sure.
He checked in with the local police in er...

Oh, where is it? Vy-senza.

Vicenza, sir.

Oh, you know it, do you?
Good, cos you'll have to go and talk to him.

ltaly? What, both of us, sir?

What did Lawrence say when he checked in?

Well, he claimed he was off his head with shock.

He'll apologise in writing and the coroner
can go ahead with the rubber stamp.

That's it, then, isn't it?
Accident. Open-and-shut case.

Still wide open, if we're lucky.

- Lucky?
- Mm.

- How long for, sir?
- Two weeks.

- Two weeks?
- Yes.

After that you'll get snarled up in red tape.
Avoid it.

Now, here's all the bumf we've got.

So it's general enquiries, sir?

GeneraI and particuIar.

Take a Iook at the first name
on the statement Iist.

My God.

Russell Clark, as ever was.

Director of The Selfhood Trust?!

lt's a sort of happiness club.

A Ioad of rich neurotics from aII over Europe
and the States go there to get straightened out.

Mrs Lawrence got straightened out
with a metal spike.

Who's Russell Clark?

Who's Russell Cl...?
He's the biggest bloody shyster on the books.

Arrogant with it. We nailed him, though.

It was 1985, wasn't it, Morse?

He got six years. Should have been ten.

He ended up doing three after remission.

- Fraud, sir?
- Mm.

He used to operate from a semi
on the Oxford bypass...

taking widows for the insurance.

Set up by his girIfriend, probabIy.

- Maureen Dyson. ls she still with him?
- Mm.

Mmm.

Something else?

No, only another name l recognise.

Significant?

Not obviously.

Nicole Burgess, the opera singer.
At least, she was.

She had some sort of breakdown.

Opera singer?
You stay out of the byways, Morse.

You're going straight for CIark.

? VlVALDl: Concerto for Two Mandolins
in G Minor

TANNOY: Attenzione, prego...

Listen.

An ltalian voice on a tannoy.
Sounds like a poem to me.

Yeah?

There's our man, sir.

How are you feeIing now, Lewis?

Me? OK. What do you mean?

l mean the heavy silence on the plane,

the intense concentration on the paperwork.

Well, sir, stuck out here for two weeks,
and it's only a checkup.

We haven't got any muscle.

lt doesn't merit it anyway.
lt looks pretty straightforward.

Nothing that involves Russell Clark
is straightforward, Lewis.

Chief lnspector Morse. Welcome.

- Claudio Battisti, Dottore. Vicenza police.
- How do you do?

- Ah. Sergeant Lewis. Welcome.
- Pleased to meet you, sir.

Your hotel. Please.

? VlVALDl: Concerto for Two Mandolins
in G Minor

lt is to your taste, l hope.

There's everything you need here.

Excellent choice, Dottore. Thank you.

LEWlS: It's a bit up-market
for visiting poIicemen, isn't it?

The luxury is justified
since you will be here so short a time.

There's scarcely any work for you to do.

Now, you will wish to unpack and er...
what is the American phrase...freshen up.

My driver will wait and conduct you to my office.
Welcome again.

- Judith...
- Oh, darling, my magazines.

- l've just seen them in the lobby.
- Every single one of them.

- You're so good to me.
- Listen.

The two policemen from Oxford, they've arrived.

Now, complete rest.

Doctor's orders. l had to promise him
before he'd let me out of the hospital.

- Judith...
- No, l mustn't be upset. Not at all.

l told him, ''You don't know my husband.

He'd banish the clouds from the sky for me.''

They'll be asking questions.

Now, it's important
that we don't contradict one another.

l wouldn't dream of contradicting you, darling.

(Distant church bells)

? Woman sings rising scaIe

? Rising scale

? Descending arpeggio

? Rising scale

Nicky, car keys.

- (Stops singing)
- l disturbed you?

Forgive me, darling.

- That is wonderful.
- Where are you going?

Russell says the English detectives are here,
but don't worry.

Where the hell are you going?!

Contessa needs advice.
She sacked her decorator.

He ravaged her dining room.

We made a deal after the last cease-fire.

You swore you'd see me through all this.

- l'll be back for your triumph.
- But they'll want to talk to me.

So? You'll charm the English detectives.
You'll make a statement. lt's nothing.

lt's another bloody distraction!

- What are they compared with an audience?
- There's been no audience for three years!

Relax! Call Russell. He'll help.

The Contessa lifts her finger, l must go.
lt's business, right?

lf it's business, well, then she pays!
Tell her about the rent!

Go on, tell her about that here!

Say the maestro's waiting for his expenses!

- Bills and expenses. They'll all be paid.
- lf l ever work again!

And stay off the chaise longue. Last time
you screwed her, you got cramp for a week!

Una bella citt�, Agente Ponso.

Sono contento che le piace, lspettore Morse.
Prego.

You spent much time here, sir? ltaly?

Not enough. And never here, precisely.

We must take in the sights, Lewis.

Aye...if there's time.

Morse.

l knew if anybody came, it'd be Morse.

ls that bad?

Well, let's say it's a challenge.

He had me put inside in Oxford.

Oh, my God.

Look, l-l-l'd better leave.
We shouldn't be seen together.

Sit down, Kenneth.

l spoke to a lawyer. Morse has limited powers.

He wouldn't be here at all if it weren't for me.
l fear l've become a liability.

You want me to fear you've become a liability.

lt's possible to overwork
that famous perception of yours.

lt seems he's here to find your wife's murderer,

- but there isn't one, is there?
- No!

- Sure?
- Yes.

But l've got to get out.

l...l can't concentrate. l'm shocked.
l'm... l'm...bereaved.

Well, l'll move you to the chorus, Kenneth,

but you're still in the show.

Now, let me give you the documents,
Chief lnspector.

Transcripts of our records
and the court proceedings.

There will be little else for you to examine,
l'm afraid,

because only a few of the witnesses
remain in the area.

Well, l'll talk to them, the few who remain.

As you wish.

l understood that your investigation was
merely a formality,

- to confirm the verdict of the Vicenzian court.
- ln theory, yes.

ln fact, too, l believe.

l've conduct a rigorous inquiry, as you'll discover.

Mr Lawrence's curious behaviour at the Oxford
inquest occurred after your inquiry,

which is why we are here.

l have interviewed Mr Lawrence.

He explained. His nerves, the shock.

His curious behaviour alters nothing.

l may come to agree with you, but er...

..in the meantime...
well, l like to apply my own methods.

By all means.

And please use all our facilities. Until tomorrow.

? VlVALDl: Concerto for Two Mandolins
in G Minor

lt had been raining that afternoon,
so the ground was already soft and slippery.

Then there was more rain around midnight.

No luck with prints, then, sir?

No prints, but we are certain that Signora
Lawrence approached from this direction.

She lost her path...here she slipped,

fell back and was impaled on that spike,

the bottom spike of that tree.

Curious arrangement, these spikes in the trees.

Curious, dangerous and ecologically unsound.

Footholds, sir. Supposed to be. For climbing.

They were introduced, presumably,
on Mr Clark's instructions?

Yes.

He encourages his clients to climb trees
as well as burn their possessions.

l'm sure Signor Clark will explain.

You're aware Mr Clark served a prison sentence
for fraud, Dottore?

Of course.

Well, what made you check on that?

l didn't check, he told me.

lt's not a secret. He tells everyone.

He gives lectures at the university
about his prison experience.

He even arranged a seminar
at the invitation of the police.

He's a well-respected man in this community.

- Do you respect him?
- Yes. Yes, l do.

ln prison, he came to know himself, to forgive
himself and then to reconstruct himself.

(Chuckles) Self, self, self. That's Clark all right.

You're sceptical. So was l at first.

l think when you come to meet him again...
Shall we go?

(Engine starts)

- l did coffee. l thought they were coming in.
- So did l.

I think Morse fancies himseIf
as a bit of a tactician.

Like you?

There's a call. lt's the prima donna.

- Manners, Maureen.
- Balls, Russell.

Nicole, good morning.

You seem to be investigating
a different case, Chief lnspector.

The same case, a different angle.

l know nothing about angles.
The evidence is clear.

The evidence is substantial. Sergeant Lewis
and l spent most of last night going through it.

However, we could find no statement from
one of Mr Clark's clients. What was the name?

Andreas Heller, sir.
Went missing after the bonfire.

Correct.

At first l thought Mr Heller's disappearance
was significant,

but when all the evidence made me convinced
that we are dealing here with an accident,

it became irrelevant.

May l ask if the search
for Mr Heller is continuing?

Officially it is continuing.

But he left no record at the Caracina.

He paid his fee in cash.

According to Mr Clark.

ls finding Signor Heller central to your inquiry?

Not necessarily.

- The forensic material will be available today?
- Yes.

The laboratory staff have been told
to expect you this afternoon.

Now, you will forgive me, but l am off duty.

You will, of course,
keep me fully informed of your progress.

- Ah, Tomaso. No, no. Vieni.
- Scusi.

Tomaso Salafia.
He comes to collect me for the English class.

- Chief Inspector Morse, Sergeant Lewis.
- Ah, the English policemen.

- Delighted to meet you.
- How do you do?

- Sir.
- We shouId meet for dinner,

for English conversation.
We practise, Claudio and l.

l doubt if that will be possible.
Our visitors have a full schedule.

Then at Ieast Iet me
show you around my coIIection.

l call it mine.
l am curator of the Biblioteca in Verona.

Your visit wiII not be aII work, I hope.

No policeman would dare to hope that,
Signor Salafia, but it's a very tempting invitation.

Thank you.

l don't know why you need an English class, sir.
You or Mr Battisti. You sound fine to me.

- Simpatici, eh?
- Non sono tanto simpatici quanto sembrano.

- He's got a point, hasn't he, sir?
- What point?

Well, it must seem like we're going off the brief.

We could have spoken to Clark this morning,
got it over with.

And fulfilled Clark's expectations.

Check out the hotel fax, will you, Lewis?

Why? Battisti's offered us the whole works.

We'll keep our distance from Battisti. We may
be forced to show that he's incompetent.

He's rather too willing
to believe the best of Clark.

Seminars for the police, indeed.
l'll pick up the car.

C'� qualcosa che voglio che guardi, Claudio.

- Non disturba?
- Che c'�?

lo credo che c'� una connessione qui.

It couId be a Iong one, this.

l might not make it, love.

Yeah, l'm disappointed an' all.

ls he there? Put him on, will you?

Oh, he's going to make me suffer
over this, isn't he?

Datemi il laboratorio forense. Presto.

''l burn the past.''
Why not simply, ''l burn the money''?

They can afford to burn money, this lot.

Have you seen the testimonials in here?

Rock stars, politicians...billionaires.

Mrs Lawrence's book.

Miss Wilcox's jacket.

Her son'sjacket, sir. DeIinquent son.

Miss Burgess's shawl.

What was Heller's contribution

to the cleansing fire?

A letter from his ltalian girlfriend.

He was two-timing, apparently.

He read it aloud at the encounter session
round the bonfire.

He got very upset. lt's on all the statements.

Then he probably did a runner
back to his wife and kids.

l suppose Clark spent his three years inside
dreaming all this up.

We're not out to nail Clark for murder,
though, sir.

He's never been violent, has he?

lt depends on what you mean.

He left a trail of ruined lives.

One of his victims committed suicide.

You admire the efficiency
of our ltalian colleagues, don't you, Lewis?

They've done pretty much what we'd have done.

Have you checked
the numbering of these items?

- No, sir.
- Try it.

l think you'll find there's one missing.

CouId have been a mistake, sir.

All that burnt stuff, must have been hellish
getting identification.

But there's one number missing.

lmplying that one more identifiable item
was burned.

Why did they refuse you permission
to crosscheck the computer file?

l wasn't refused. They're doing a computer
backup. l'll get it in a couple of days.

l wouldn't bank on that.

And what else was burned?
We ought to find out.

Did you mention a drink, Lewis?

Yeah.

Give us the drill again, will you, sir?

Una grappa di prosecco for me,

and una birra for you. Per favore.

(Applause)

? VERDl: Caro Nome from Rigoletto

? Caro nome che il mio cor

? Festi primo paIpitar...

Good evening, Chief lnspector.

? Le deIizie deII'amor

l bet you never thought to hear Nicole Burgess
sing again in public.

l seem to recall from our discussions
that you're a music lover.

lt's Russell Clark, by the way...
in case you've forgotten.

l haven't forgotten. They weren't discussions,
they were interrogations.

She's been doing this recentIy-
impromptu performances,

hoteIs, churches,
trying to rebuiId her confidence.

She came to me Iast year for heIp.
She worked hard and came back this year

to do a refresher course,
and now she's flying all on her own.

? ..sospir

? Caro nome, tuo sar�

? Col pensier il mio desir...

- l'll introduce you.
- No.

Well, you will be talking to her,
and to me, of course?

When l'm ready.

l'll speak to you when l'm ready, Mr Clark.

? E pur I'uItimo sospir

Sir?

? Caro nome...

l thought we'd breakfast alfresco, Lewis.

This is the life, eh?

And all on the taxpayer.

What news from Oxford?

Lawrence's assistant's been talking.

Says Lawrence is cagey about some of
his business, does bigger deals than he lets on.

Really?

Can you do big deals in books?

Certainly. There's first editions, rare books.

He's making us a list
of Lawrence's business contacts.

- They'll fax it to us in the next couple of days.
- Here, try one of these, Lewis.

They're excellent. The crema's a local speciality.
Goes down very well with cappuccino.

Have they got any bacon?

l er...should apologise, Lewis,
for leaving so peremptorily last night.

l...l wanted to think.

That's OK, sir.
l hung around for Miss Burgess's encore.

- Prego, signore.
- Potrebbe portarci della carne cotta, per favore?

S�, signore.

- You listened to Verdi, Lewis?
- ls that what it was?

Belting voice, anyway.

- Yes. Yes, she seems to have recovered.
- Looked like Clark was taking the credit.

Pause For Love?

Holiday reading, Lewis?

lt's not a holiday, is it?

It's what May Lawrence dumped on the bonfire.

Thought l'd give it a go.

Might stop me getting bored.

Come in, Sergeant Lewis.

lt was good of you to wait.

lt takes some time to mobilise my wife
in the mornings.

No bother, sir.

ls Mrs Haines all right now, sir?
We were told she collapsed.

From the shock, yes.

Her blood pressure was affected
rather seriously.

She had a stroke five years ago, and after one
there's always the fear of a second.

l haven't come
to raise anyone's blood pressure.

Just a few routine questions,
keep the coroner happy.

Yes. l understand.

This cassette tape, sir,
the one you threw in the fire,

it was a radio programme, you said.

lt was Woman's Hour, Sergeant.

- An edition my wife missed at home.
- My wife's a fan of Woman's Hour, too.

But...the tape, sir, you burnt it.

Why was that?

Look, do you mind
if we continue this elsewhere?

Yeah. Sure, if you Iike.

Oh, Judith. This is Sergeant Lewis.

Really? l have to rest, Sergeant. Doctor's orders.

- That's all right, Mrs Haines.
- We'll leave you to make yourself comfortable.

l'll be back, but l'll go easy with you.

Oh, l'm sure you will. You have such a kind face.

But really, l've nothing to add
to what l told Dottore Battisti in hospital.

- Absolutely nothing...
- Judith.

l...l can't remember a single detail,
except thinking, just as l collapsed,

''My God...that's May Lawrence nailed to a tree.
Crucified.''

You mean...you recognised her?

But l thought you'd never met.

l'm sorry.

Yes, we did know the Lawrences.

Very slightly - at Oxford.

l had an account
at Kenneth's bookshop for a time.

ln 1 986 l accepted a professorship
at Edinburgh,

my old university.

And...well, of course,
we didn't see either of them again until...

Quite a shock for me to find May
on the encounter group,

and for Judith, that night.

You should have said, sir.

l tried to keep everything simple
for my wife's sake.

Did Mrs Lawrence recognise you when you met?

(Small laugh) lf she did,
she didn't care to acknowledge me.

l suffer from severe depression, Sergeant.
Have done since Judith became ill.

The routine, l suppose. Caring for Judith.

Shopping in the morning, nap after lunch...

..Woman's Hour, a walk,

tea...bed.

There had to be a change.

So you signed up
with Russell Clark's organisation.

Yes, l read an article in The Guardian.

l insisted that Judith come to ltaly with me,

but she couldn't face doing the course,
so she stayed in the hotel.

l burnt the tape, Sergeant, because it symbolised
everything that was dragging me down.

l'd sooner Judith didn't know.

You didn't burn anything else, did you,
beside the tape?

No. No, l didn't.

Why must l be subjected to this?

lt's all over.

l've written to the coroner in Oxford telling him
l'm satisfied my wife's death was an accident.

You mentioned threats in court, sir,
and repercussions.

l was understandably upset.
l didn't know what l was saying.

Your outburst began when the coroner referred
to the work of The Selfhood Trust.

Really? And what do you read into that?

l take it your wife was being advised
by the Trust director, Mr Russell Clark?

Did you approve?

Why, l neither approved nor disapproved.

She talked of clearing the garbage
out of her mind. lt was her decision.

ls he a friend of yours?

Clark? l hardly know him, except as a fellow
member of the English-speaking community.

Look er...l don't think l can help you any further,
Chief lnspector.

Are you planning to leave, Mr Lawrence?

ln due course.
The house is beyond my means now.

May's income was never enormous
but it helped pay the rent.

Kenneth!

Your wife had great taste,
which l am not renowned for,

but what the hell? l'll take the lot.

We'll settle up tomorrow.

lntroduce me.

Patti, Chief lnspector Morse.

- This is Patti Wilcox from Glendale, California.
- The great detective who likes

to keep us aII in suspense.
I've seen you at the hoteI.

- When are you going to talk to me?
- l can't say, Mrs Wilcox.

Make it cocktaiI time. Suite 1 4, second fIoor.

Excuse me.

Hello, Maureen.

Mr Clark's assistant, l believe.

WeII, Maureen, it must be six years.

- Don't start about the past, Morse.
- Why not? lt's all we have in common.

lf you don't want to talk,
why am l driving you back?

The lesser of two evils.
l couldn't stick Miss America another minute.

-Yes, she does seem rather demanding.
- Yeah, like the rest of them.

- The rest?
- Rich loonies.

l thought you were doing well
in the world of personal growth.

You're listed as a coordinator.

Sounds like a step up from...
what was it in Oxford? Er, shop assistant?

l was a qualified beautician.

Oh, yes, and Russell took an interest
in your older clients.

l was acquitted, wasn't l?

At the time, you said fair enough.

At the time, you were a girl.

l didn't expect you to wait for him.

Well, maybe l won't wait that much longer.

Do you still drink at The Crown, Morse?

Now and again.

Anyone there still remember me?

You're homesick, Maureen.

And you don't believe
this Selfhood Trust nonsense.

lt pays the rent.

Legally?

Legally. Anyone can put up a brass plate
in the psycho business.

Listen, Morse,

if you've come after Russell over May Lawrence,
forget it.

He was in the villa at the time,
with me and half a dozen domestics.

l know.
How friendly is he with Kenneth Lawrence?

Russell's everybody's friend.

Mr Lawrence seems very anxious
to remove all traces of the deceased.

Why?

Maybe he found out about her.

Found out what?

l've got to go.

(Basket clatters)

Found out what?

Nothing.

You have these. l don't need them.

Come on, Maureen, you owe me a favour.
l spoke out for you last time.

All right.

May Lawrence was having a fling with someone.

A man on the course. l don't know who.

How do you know this?

Her room was opposite
that weedy little professor's.

The night before she died,
l had to tell him to turn his radio down -

or his tape recorder or whatever.
We'd had complaints.

When l got up there, there was someone
leaving May's room. l didn't get a good look.

Have you told anyone else? Russell?

- Battisti?
- No.

Thanks. lf there's anything l can do for you...

within reason...

There is, as a matter of fact.

- What?
- This.

Chief lnspector Morse?

Er... Yes.

Um...

Miss Burgess.

l'd like to speak to you...
when you've recovered your breath.

Pausing for love, Lewis?

There's a lot about tearing the fabric of the soul.

That sounds like a motive for murder in itself.

Miss Burgess is waiting in her car.

She wants to talk to me alone, she says.

- Alone?
- Yes.

So er...why don't you er...take it easy?
Do a little sightseeing.

Here's some maps and things.

Oh, hang on, sir.
l spoke to the Haines this morning.

Turns out they knew the Lawrences
in Oxford years ago.

Really. Well, good work, Lewis.

- We'll talk about it later.
- CarefuI with that!

Sir?

Where did you get these? Sir!

Sir!

Sir!

Hello, sir.

Hello, Sergeant Lewis.

So, sir, are you on duty?

Yes. May l help you?

Well, it's just...l put in a request to take another
look at that forensic material tomorrow.

Could l bring that forward to this afternoon?

That will be OK. Any item in particular?

No, no. Just general checking.

No problem. l must go.

(Wheels screech)

? VlVALDl: Concerto for Two Mandolins
in G Minor

This is an unexpected pleasure, Miss Burgess.

Nicole, if you like.

What do l call you?

Morse. Just Morse.

Really?

- ls that what your wife calls you?
- l'm not married.

- Divorced?
- No.

Wise man.

l er...

l heard you sing last night.

Oh, how was l? Back on form, would you say?

Do you know my form?

l have most of your recordings.

Oh, the balmy days when l made recordings.

You were superb.

Better than ever.

Well, then, l suppose
l have Russell to thank for all that.

Russell Clark?

Though it's all bullshit, of course, what he does.

Expensive bullshit.

(Blast on car horn)

(Shouting)

Thank you.

An excellent lunch, and all this.

Ah, beware the great love affair with ltaly.

Beware?!

Sorry. l have this habit of blaming the country
for the lousy choices that l've made.

But... But your life is here.

lf you can call it a life.

Why do you stay?

Home is where the debts are.

Oh, l don't know. lt was romantic to begin with.

l had my first success in Verona. l was 24,

l...bought a house, l acquired a husband...

went on singing.

And then came the well-publicised attack
of stage fright and er...

well, l couIdn't move.

l'd been worked over by most of the shrinks
in Europe before l met Russell.

How did you meet him?

Guido, my husband, brought him in
when l was desperate.

l figured l'd got nothing to lose.

- Except money.
- Ah, no, Russell waived the fees in my case.

He said l could pay him out of my next recording.
How's that for confidence?

So, on the one hand, Mr Clark is successful,
on the other hand he...

Peddles bullshit?

Yes, of course. l mean, climbing trees,
for God's sake, to feel the pulse of nature!

- Burning the past.
- The ''abandon period''?

There's more abandon
in a game of Monopoly. lt's packaging.

The real point is,
he's been down there, in the pit.

He can describe it.

The humiIiation, the despair.

And he owns up.
You won't get a shrink doing that.

And then he makes his clients own up.

He was showing me off Iast night, wasn't he?

To you.

l suspect so.

Let's walk.

(Pants)

LEWlS: A bit fed up, as a matter of fact.

Yeah, he's off on one of his things.

Opera singer.

So, l think he's going to stretch it out.

Yeah, well, l'm sorry, love, but l can't help it.

lt beats me what it's got to do
with May Lawrence.

Have you?

Yeah, l'm reading one of hers an' all.

Bloody terrible.

MORSE: Why have you brought me here?

lt's somewhere l feel calm.

And there's a reason
why l wanted to talk to you now.

l'm trying a comeback. Sunday.

Verona again.

No publicity and, of course, it could turn out
to be the understudy's big night.

Sack the understudy.

l need a clear run.

Well, you have it. l'm...l'm satisfied.
l've read your statement.

Then l'd better tell you what l left out.

The man who disappeared, Andreas Heller...

Yes, what about him?

l'm responsible. l told him to go.

l told him the rest of the course
was no use to him.

l'd done it myself before, and l told him
to go straight back to his wife and kids.

Well, why didn't you tell
Dottore Battisti about this?

Because he'd already concluded
that May's death was an accident.

l thought if he went after Andreas,
his wife would find out about his girlfriend.

And that's just what he wanted to avoid,
poor man.

ls this important?

l don't think so.

Thank God.

Let's find some wine...Morse.

This belongs to you?

The vineyard?
lt's the remains of Guido's inheritance.

What we've lived on mainly
since my fees dried up.

Your marriage...

it's...

Over?

Nearly.

l told you, l took Guido on with the scenery.

The scenery is more reliable.

This is how your husband makes his living?

Nothing as sordid as a living.

He was brought up
surrounded by beautiful things.

Unfortunately, they disappeared early on.

Now he dabbles. Painting, calligraphy, design.

He is talented, but not diligent.

Sample the vintage.

l'm sorry, there's no wine.

lt doesn't matter.

l wanted to ask you...

You burned a shawI, was it, in the bonfire?

Yes, my security blanket.

l used to shiver with dread before l'd go
on stage, and wrap myself up.

Russell convinced me l didn't need it.

Did you burn anything else?

No.

Seems stupid now, burning things.
At the time it was exhiIarating.

l'm sorry.

Maybe it wasn't such a good idea
coming here after all.

- Nicole, are you all right?
- Yes.

But l've had enough.

Remember the Ietter Andreas HeIIer read

and then dumped in the bonfire?
l think it was from May Lawrence.

These maps you gave me, they were hers.

Well...she made notes on them
about places she'd visited.

lt's the same handwriting on the burnt bit of letter
they've got in Forensic.

l checked.

So Heller was May Lawrence's fling.

- Sir?
- lt er... lt came up this morning.

There wasn't time to tell you. Anything else?

Yeah. l had another look at the numbers
in Forensic. They're OK now.

They match the computer file.

There goes the evidence
that an item was removed.

There's something else, sir.

Battisti's got a tail on Kenneth Lawrence.

They were watching him outside the bank.

Well done, Lewis. Come on.

Heller told the group the affair had gone on
for a year. He wanted to end it.

He was giving May Lawrence a coded message.

Such a fuss about an affair, Chief lnspector.
How very British.

lt's new evidence.

Of what, precisely? Of murder?

l saw with my own eyes the unfortunate lady
with a spike through the back of her neck.

Use your imagination, Chief lnspector.

There are far easier
and more reIiabIe ways of kiIIing.

l take it you've studied the pathologist's report?

lt's evidence of an incomplete inquiry.

You question my professional integrity?

My sergeant went
to the forensic laboratory today.

The file numbers have been altered
since we last saw them.

This is important. You have discovered
the clerical error. Bravo.

You have never seen such a thing
in all your years as a policeman in Oxford?

- Yeah, of course l have.
- But this is ltaly.

lt can't be a mistake, it must be a conspiracy.

Some aspects of the investigation
remain unresolved.

To you, perhaps.

To you who have nothing better to do

than spend time prying
into the lives of innocent people.

You can't rule out a connection
between Heller and Clark. l know Clark.

l know what he's capable of.

Your arrogance astounds me.

You pursue a private vendetta
against Mr Clark with no evidence,

and you expect me to assist you.

- You asked to be kept informed of our progress.
- Yes, l did.

And if you make any progress, please inform me.

Well, that's me made to look a right bloody fool.

- Why didn't you go for him, sir?
- With what?

With what we know about him
being after Lawrence.

Because we're not supposed to know.

lf we show our hand now,
the blinds will come down, absolutely.

But we're nowhere near a tie-in with Clark.

Suppose Battisti's right and it was an accident?

When will you recognise the undertone, Lewis?

There's something - an image...

..a room in Oxford,

a note in an envelope,

a woman's body hanging in a doorway.

She promised to testify against Clark,
but her nerve failed,

under his persuasion, probabIy.

He's in this!

(Cheering)

The arena, Lewis.

Built by the Romans for their games.

Carnage and brutality.

Now it's an opera house.

l could almost believe in progress.

Yeah, but what are we doing in Verona?

You are going to visit
the local police headquarters

to check discreetly whether Battisti's stepped up
his search for Andreas Heller.

- Take the car.
- Where will you be?

l have to talk to Nicole Burgess again.

l don't think she told me
the whole truth yesterday.

See you later. How much longer
is this likely to go on, sir?

l could do with getting a flight home
Monday morning.

Any particular reason?

lt's just...

my lad's sports day.

He's got me in the fathers' race.
l missed it the last two years

and l promised him this time.

Did you think l'd be unsympathetic?

Well, it's...not your sort of thing.

Well, l hope l recognise
the value of keeping a promise.

l'll see what l can do. You should have told me.

l will. Next time.

Nicky, darling.

My greetings. l hear your welcome was fantastic.

Get out and take that with you.

You're back, Nicky.

A new start for both of us. The bills will be paid.

Don't get overoptimistic. l haven't earned my fee.

- No, no. l shall pay.
- And what are you going to do for money?

l have my own fee.
The Contessa was generous.

Don't tell me the price of your body's gone up.

Don't tell me anything, Guido.
Go on, get out now. Leave.

Certainly. The interview with the English police,
it went well?

Huh. One policeman.

One decent, sensitive, intelligent man.

lt's a long time since l met a man.

l've been too busy propping up
a relic of the aristocracy.

Look, l've got things to do. Just go away.

Yeah, OK, OK.

You remember, l did some propping up, too.

Excuse me.

Very weII, my darIing.

l'll go and search for some comfort
and leave you alone to sing, huh?

A little marital discord. Sorry.

More questions?

l'm afraid so.

After the rehearsal?

Russell? Russell?

Battisti's been to see me.

He wanted a specimen of May's handwriting.

It seems that HeIIer was her Iover.

The last of a long line, Kenneth.
You had no illusions about your wife.

That's why you got rid of her stuff.

WeII, I knew something.

This is different. l mean, Battisti was probing.

l think he may even doubt this was an accident.

- Why, what have you said?
- WeII, nothing. But Iook,

l want it to be clear
that l am totally disconnected.

Just do what you've been told
and keep your mouth shut.

- Look, can't we postpone? I mean...
- No.

- But l'm in no fit state.
- ShouId have done one of my courses,

Kenneth, l'd have got you fit. Go home and wait.

? PUCClNl: Piano from Turandot

? PUCClNl: Signore, Ascolta! from Turandot

? Signore, ascolta!

? Ah, signore, ascolta!

? Li� non regge pi�!

? Si spezza il cuor! Ahim�

? Quanto cammino

? Col tuo nome nell'anima

? Col nome tuo sulle labbra!

Andreas?

l'm sorry. Sorry. Hang on.

Andreas?

Andreas!

Andreas, for God's sake!

Scusate un momento. Non mi sento bene.

(Yells) Lewis!

The white cap!

Go after him! It's HeIIer!

What else did you burn
in the fire at the Caracina?

Nothing.

Please!

(Sighs)

lt was Guido's first declaration.

He was a fine-art student here in Verona
when l made my debut.

He brought it to the stage door with a rose.

lt was a kind of mock-Renaissance thing.
A scroll.

llluminated vellum.

He'd written a poem
about the virtues of a good woman.

lt was beautiful calligraphy.

And a lie from beginning to end.

Did he know you meant to destroy it?

He'd made a few more by then.

Unfortunately not for me.

Oh, it's all so pathetic.

Andreas and his puny little secret,
Russell and his bloody rituals.

You know what he says?

lt's no use denying fear.

You have to...stare it in the face...

..get bored with it and then move on.

l thought l had moved on.

(Tearful) Oh, l'm sorry.

l mustn't cry, it plays havoc with the voice.

Excuse me.

Excuse me.

Piera Conti, booking manager.

That man you were chasing,
he works out of a travel agency in Geneva.

He is called er...Louis Picard.

Yeah? What else do you know about him?

Nothing. l rarely see him.

Today he comes in
only because of a dispute about seating.

l let myself get pregnant. Big mistake.

Cheating.

l thought he'd get used to the idea.

Which was naive of me because he put the flags
out when l miscarried in New York later on.

I got over the disappointment.

I madejokes about it.

Who needs a baby when they've got Guido?

Fine mother l'd make,
somewhere between Carmen and Tosca.

l meant to leave him, though.

Only, then l started to seize up on stage and...

..and in six months' time, l was back in ltaly
with no career and nowhere else to go.

lt's the lie you tell yourself that matters.

RusseII again.

What was the lie you told yourself?

That I didn't care.

l did.

And l do.

- Did you discuss this with the encounter group?
- Um...

RusseII...some of it.

l didn't know all of it
until l came out here this morning.

Why did you want to know
about what else l'd burned?

lt's bad news, isn't it?

Not necessarily.

lf l asked you to hold back...

Please, just until after the performance.

Well, you'll come, anyway?

l'll fix it.

l'd be delighted.

You didn't say. How was l?

You were sublime.

Louis Picard?!

From Geneva, sir.

Well, get on the phone to Battisti.

Tell him emphatically
he's been looking for the wrong man.

You get anything, sir...from Miss Burgess?

A link with a missing forensic item, l suspect.

l'll tell you all about it this evening.

Car keys, Lewis.

(Footsteps)

Ah, Chief lnspector Morse.
Sorry to keep you waiting.

Meetings. Always meetings and discussions
that lead nowhere.

Sounds like the police, signore.

What can l do for you?

l thought, if it's convenient, l might take up
your offer of a tour of the library.

You've chosen the one morning
when l can't possibly oblige. l'm sorry.

lf only you'd telephoned first.

Don't apologise, please.
l'll make my own way round the collection.

Was there anything
you particularly wanted to see?

Something, perhaps, in your own field, signore.

You're listed in the catalogue as an authority
on 1 6th-century manuscripts.

There are, as you see, some very fine examples.

Yes, it's a new experience for me.
What are the materials? Parchment? lnk?

lnks, yes. Mixed by the artist himself.

GoId Ieaf, siIver Ieaf...on veIIum of a rare quaIity.

And of a high value?

Yes, sir, they are priceless.

Now, you must excuse me.

Yes, of course. Another time, perhaps.

You expect to return?

lt's possible.

Buongiorno.

Buongiorno, lnspector.

Dottore Battisti, per favore.

Allora, lascio un messaggio.
Le dica di chiamarmi. � urgente.

Listen, son, l've told you,
it's no good sulking, is it?

lt just gets your mother down.

Look, l'll break my neck to be there, all right?

Right.

Put your mam back on, will you?

Aye. l know, love.

But...well, things have started to get
a bit more complicated now.

Yeah, l think we're going to have to.

Yeah?

You what? Woman's Hour?

When was this?

Can you remember what it was called?

Chief lnspector, l'm sorry to have
kept you waiting. Can l offer you a drink?

No, thanks, Mr Clark.

Got a couple of out-of-the-way malt whiskies.

- No.
- No.

l'm a brandy man, myself.

Seat.

This is a bit of a change
from our last question-and-answer session.

What can l do for you?

l want to see your records.
l want the names of the clients

you've registered
since you started this organisation.

Oh. Well, l think you know that
that counts as written evidence

which you're not allowed to seek
under the terms of your present investigation.

- Do you have something to hide?
- No, not at aII,

but the records are confidential
and l have to protect my clients.

Well, l dare say
all the information l need is in here.

Among the testimonials.

It's onIy a matter of isoIating
one particuIar miIIionaire.

What a powerful smell of money.

Do you envy the rich and famous?
You wouldn't if you had my job.

Very few are happy.

What qualifications do you have for yourjob?

None...

apart from experience, but the Selves are
in no doubt about that from the beginning.

The Selves?!

Yes, my clients are known as Selves.

Becoming a true Self is the measure
of individual achievement.

- Did Andreas Heller become a true Self?
- Andreas?

Hardly. He didn't complete the course.

He didn't give his true name, either.

He's called Louis Picard.
l found him this morning.

Oh, really?

ls that all you have to say?

When he's brought in,
this case will be reopened.

Think of the consequences.

l suspect you're facing ruin, Mr Clark.

Well, l have complete faith
in Dottore Battisti's judgment

that Mrs Lawrence's death was a tragic accident.

However, if l can be of any further assistance...

lt wouldn't be betraying a confidence if we
discussed an item of forensic material, would it?

After all, your clients have identified the objects

they threw into the cleansing fire.

There was one...
Um...it's the corner of something

that looked like a...

weII, a work of art.

Lettering. IIIuminated.

No, nothing of that description.

It's unattributed...

unclaimed...

but it's there.

I am teIIing you

that the air conditioning does not work.
lt is inefficient.

l put it on maximum and what l get smells like
a stagnant pond. Now, do something, please.

Oh, hello. Aren't you the sergeant?

Sergeant Lewis. lt's Mrs Wilcox, isn't it?

Yeah, and it's about time
you talked to me officially.

You know, you're generating
a great deal of tension,

you and the great detective.

- And l've got some explaining to do.
- Explaining?

Sure. Now, l want to make it quite clear
that when l burned my kid's jacket

l was not symbolically burning the kid,
only the relationship.

We have your statement, Mrs Wilcox.

- We'll be in touch.
- Do you like fun, Sergeant?

- Fun?
- A group of us meets every night in the bar.

Brits, Americans. Tonight's my sendoff.

Why don't you join us?

Bring the great detective.
He looks as if he could use a good time.

Well, we'll see what he says.

- Well, how about breakfast right now?
- No, thanks.

l'm off to the shops.

- Who is it?
- lt's Russell Clark, Mrs Haines.

May l have a word?

l-l'm sorry, you've...

l'm not dressed yet. You've caught me at rather...
Well, l must look a perfect fright.

No, not at all, Mrs Haines,
but l do need a word with you now.

Oh... My husband's not here.

l came specifically to see you.

I'II come straight to the point, Mrs Haines.

l have a crisis of conscience.

ln the course of my work, l become...

- privy to secrets.
- Secrets?

Mm.

Your husband has a secret.

AII secrets are safe with me...

usually.

But your husband's secret

invoIves the poIice.

Oh, my God!

Where have you been, Lewis?

lt took me an hour to find this, sir.

Banish The CIouds by May Lawrence?
Are you becoming a devotee?

Have a look at the first page, sir.

Second paragraph down.

(Reads) Her Iaugh tinkIed out gratingIy,

although the laugh went well enough
with the pink frilly blouse.

She appealed to her husband, the professor.

''You'd banish the clouds from the sky for me,
wouldn't you, darling?'' she said.

That's Judith Haines, sir.

May Lawrence put her in a book.
Made fun of her.

Published five years ago,

the year Mrs Haines had her stroke.

lt was serialised last year on Woman's Hour.

My wife told me.

And recorded on the tape
that Haines threw into the fire.

Clark would have known about this.

Where does NicoIe's burnt Iove Ietter tie in?

- Why did Battisti pull that out of Forensic?
- Think about the timing, Lewis.

Forget clerical errors.
Battisti knew we were coming.

He had pIenty of time to act before we arrived.

There was his friend from the Biblioteca.

Salafia, an authority
on Renaissance manuscripts.

Rare books and manuscripts.

And Kenneth Lawrence deals in rare books.

And Clark looked very uncomfortable
when l mentioned manuscripts.

- What, you've talked to him now, like?
- Last night.

Oh. Cos he was here just now.

Tell them to get a move on in Oxford.

l want everything
on Kenneth Lawrence's contacts, fast.

And then crosscheck them
with the names of Clark's so-called clients.

(Shouting)

For God's sake, where is he? The doctor!
Get the doctor immediately! Now!

Urgente! Get him.
He's supposed to be available.

What is it, Mr Haines?

lt's...my wife.

Mrs Haines?

S...Sergeant?

- Such a kind face.
- Hang on, love.

You'll be all right.

Kind.

Be kind to Alistair, won't you?

He did it for me.

Did what, Mrs Haines?

He couldn't have done it.

A tragedy. To have recovered so well...
and now this.

l thought she was going to make it.

- You spoke to her?
- Nothing. No, she said nothing...

..of any importance.
She said that Sergeant Lewis had a kind face.

l wish to speak to you, Chief lnspector.
lmmediately, in my office.

Talk to Mr Haines, Lewis. Now.

- A terrible, unnecessary death, Chief lnspector.
- l agree.

For which l hold you partly responsible.

- You hold me responsible?
- CertainIy.

- Signora Haines was a frail, nervous woman.
- I know.

- Highly suggestible, easily intimidated.
- ExactIy.

And what has been more intimidating than this
atmosphere you've created around this inquiry?

Doubts, suspicions about the competence
of my investigation.

l don't believe that's why she killed herself.

l should tell you that Russell Clark was seen
in the hotel this morning.

Ah, the fantasy rises again.

Go home, Chief lnspector. Go home
before you make a complete fool of yourself.

(Phone rings)

Pronto.

Grazie.

Louis Picard has been detained.

Join me, observe the interview,

and satisfy yourself that this case is closed.

That's not the whole story, Picard.

- lt is, l swear.
- l am satisfied, Chief lnspector.

l am far from satisfied.

You checked my credit card.

l bought petrol at 1 1 :55 that night
and drove to the border.

May, she was stiII aIive then.

l didn't kill her.

l loved her for a time.

Please, my wife, she mustn't know.

Enough.

What was the deal, Picard?

What were your instructions from Clark?

How dare you abuse my courtesy?

- You invited me to question him.
- About the accident.

You heard him. He had no connection.

That is the end of your inquiry.

There's more. Much more.
Why are you tailing Kenneth Lawrence?

l said that is the end.

When do you leave, Chief lnspector?

We were thought to be
an ill-matched couple in Oxford.

Well, Oxford... You seemed
a pretty devoted couple to me, sir.

The professor and the college typist.

Judith was considered to be ridiculous.

She wasn't.

She was exotic, fragile, sensitive.

Colourful.

You've read this vicious book?

l've read enough.

Mrs Lawrence,
she...she can't have been all that nice.

She was a terrible woman.

And an indifferent writer.

Too shallow by Oxford standards.

Of course, it...it circulated and there were...

..there were comments.

lt was the most terrible strain for Judith.

l think, in a sense, she took refuge in her stroke.

Things were easier for her at Edinburgh.

l missed Oxford.

Then there was the serial,
last winter on Woman's Hour.

May Lawrence was interviewed
before the last episode.

She said these days
she spent her summers in Vicenza

and would be joining a Selfhood Trust course.

So you made arrangements?

Yes.

Without telling Judith.

l wanted to show May what she'd done but...

..she didn't even notice me. l played the tape

over and over,

loudly, in my room.

Nothing.

No response.
But it won't have to come out about Judith, will it?

How do you mean, sir?

Judith went to the villa that night
because she'd discovered

that May Lawrence was doing the course too.

She was afraid of...what l might do.

l'm sure that it was...just an impulse.

Just one push.

Are you saying your wife murdered
May Lawrence, sir?

Of course.

She thought you did it.

Morse!

Perfect timing. How about a goodbye kiss?

Very funny, Maureen. Go away.

I am. America.

That's my lift to the airport. lt's the least
she could do after what l've done for her.

Why America?

Russell's got contacts.
They want to set up a branch of the Trust there.

I'm supposed to coordinate the arrangements.

He thinks the responsibility
will give me the excitement l'm missing.

He saw you and me together the other day.

Put the wind up him.

Will it give you the excitement

- you're missing?
- Who knows?

Maybe l'll see you in The Crown one day.

Oh, poor Judith.

l thought of cancelling,
but then, as Russell would say, life goes on.

Right, Russell?

What am l doing here?
l'm a recently bereaved man.

Well, you made an effort to set aside your grief
and bid a dignified farewell to our hostess.

Mingle.

By the time May Lawrence died,
Picard was filling his petrol tank in a garage.

Corroborated. He's out of the running.

Mr Lawrence's business contacts
came though from Oxford.

One of the names tallies with a name
in The Selfhood Trust brochure.

- Who is it?
- A Herbert Pharos of Chicago.

Art collector. He wrote one of the testimonials.

lt hardly matters now, does it?

Are we jacking it in, then, sir?

We've got no alternative.
We've done what we came to do.

Anything else is solely Battisti's concern,
as he clearly pointed out.

We've got to nail Clark, sir.

(Small laugh) Why this...
this sudden conversion, Lewis?

Well, the way he destroyed Mrs Haines.

Why did he do that?

Because he knew l was looking
for a possible murderer.

He tried to provide one.

Whatever you and l know, l can't touch him.

Let's go and get a drink, Lewis.

OK, it was an accident. So why did Lawrence
go on about threats in court?

The threats didn't relate to his wife's death.

To the other thing, then?
The thing Battisti's onto?

- Shall we go and eat instead, sir?
- Wait a minute.

MORSE: What's he doing here?

- Who is he?
- Guido.

He's married to Nicole Burgess.

Sergeant!

Something told me
you wouldn't be able to resist.

l know a guy who likes fun when l see one.

I'm not sure about the great detective,
but we can maybe soften him up a IittIe?

No, thanks, Mrs WiIcox.

- We're just on our way...
- Why don't you go, Lewis? Have some fun.

Look, sir...

Tell me about it in the morning.

- Where will you be?
- You're off the leash, Sergeant.

Chief lnspector.

lt's very sad about Judith Haines.

l scarcely knew her, but she struck me
as rather unstable. lt's very sad.

Excuse me.

? Lambada

? Lambada

(Groans)

Bloody hell!

l saw it.

l touched it.
lt glittered like the ones in the Biblioteca.

- You shouldn't have gone on your own, sir.
- Stop being a nursemaid, Lewis.

lt wasn't one of them that thumped you.

They were at the party till it packed in.

Could have been worse, l suppose.

''Not so deep as a well, nor so wide
as a church door, but t'will serve.''

You what?

Romeo And Juliet.

You don't reckon it could have been a woman,
do you, sir?

Only, she wasn't there last night...Miss Burgess.
And you were at her place.

Yes, it could have been a woman.

S�?

Dottore, it's Chief lnspector Morse.
l'd like to talk to you.

Come in.

You have been injured.

Yes.

Sit down.

lnterfering again, eh?

You have not put
the police operation in jeopardy?

l hope not,
but this happened in Guido Ventura's studio.

Oh, for God's sake!
lf you use a little common sense, it'll all fit.

Well, hello to my favourite cop.
Who was the beau of the ball last night?

- Are you leaving us, Mrs Wilcox?
- Wagon's gotta roll.

We're going to Rome.
Stopping in Verona for the performance.

Nicole's comeback, if she makes it.

Hey, why don't you come on over?

We're all meeting up for a drink in a caf�
on the Via Pascaglia.

No. l er... No.

You said that last night, but you came, Sergeant.
You are a fun person.

Dump your serious colleague first.

There's time for me to convince you
over breakfast.

No, thanks.

l'm expecting my er...serious colleague.

Bye, Sergeant.

Lawrence and Clark have been
under observation since you arrived.

Why didn't you tell me?

lt was not connected with the accident,
and, therefore, none of your business.

Here, this is a specialist art magazine
with an item about a private sale in London

of a Renaissance manuscript. The first of a pair.

Kenneth Lawrence was the unnamed dealer?

But where did he get it?

l don't know exactly.

lt is still possible to discover
such treasures by luck.

But it is certainly from this area.

l am assured by my friend Tomaso that this
manuscript is the work of Liberale di Verona,

one of our foremost artists.

lt is magnificent. And it is authenticated.

And the second manuscript?

Ah, the second one. A forgery, l suspect.

This is what l am looking for.

Guido Ventura.

Yes. We had not made that connection
with the piece of vellum found in the fire.

But why move the forgery now?
That doesn't make sense.

Because of this.
A leak they hadn't bargained for.

Great works of art cannot be exported
without a government licence.

So they smuggled out
the genuine Liberale manuscript,

and now their buyer is nervous.

He wants the second part of the bargain quickly,

so he is less likely to question its authenticity.

A classic sting.

- Signor Lawrence?
- Yes, what is it?

Venga con me, prego.

l insist on knowing the reason for this.
lt's outrageous!

- Come with me.
- These are the tactics of a police state!

MORSE: Come on, Lawrence. The manuscript.

What manuscript?

Where is it? Who'll deliver to Mr Herbert Pharos?

- That name again.
BATTlSTl: You know him?

l know of him.

You did this deal.

Where does it say so?

Clark set it up. How much money was involved?

Four million? Five?

The day after the saIe,

a large sum of money was transferred
from London to your bank in Vicenza.

Your commission, was it? And something
on account for the second manuscript?

Why are you holding me here?

You withdrew two thirds of this money
in cash on Thursday.

A three-way cut. You and your friends.

l need ready cash.
lt's in the nature of my business.

- What are the charges?
(Door opens)

Who taught you
this name-and-number technique?

Been drilled by Clark, have you?

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

(Footsteps)

Nothing. His luggage is clean.

Well, it must be somewhere.

The buyer's in place.

Oh, my God, of course. Maureen.

- Maureen in America.
- Signorina Dyson?

She said she was going last night.

Supposing she didn't...she could be carrying.

We'll check her movements.

- OK, sir?
- No, Lewis, not OK.

Oh, head giving you gyp?

Lawrence is a decoy.
They knew we'd go for him. We've wasted time.

l can't detain Lawrence.

Well, let him go. He'll run to Clark.

l think l know where Clark'll be anyway. Verona.

(Announcement on tannoy)

(Tearing)

S�.

Bene.

No luck with Maureen Dyson. You were right.
She didn't leave until this morning.

She was detained in New York, searched,

again nothing.

l suggest we round up the others.

(Knock at door)
- Avanti.

How are you?

l won't know till l'm on stage.

You're early.

l'm on duty.

What is it?

Nicole, you must believe that it matters to me
that everything goes well for you,

but there's something l have to know now.

Where were you last night?

l stayed over with the conductor and his wife.
l didn't want to travel today.

Thank God.

lt's Guido, isn't it? And that money?

l couldn't tell you. But he didn't...

lt isn't to do with May's death, is it?

No. No more questions.

So what do we do now?

l wish you good luck.

l usually get a kiss when people wish me luck.

The first time l saw you,
you were kissing Maureen.

Under protest.

Oh, scusi, signora.

Sarebbe ora di prepararsi.

Va bene.

There'II be champagne afterwards.

lf l make it.

You'll make it.

TANNOY: La pr�sentation commencera � z�ro
heure quinze par La Petite Musique De Nuit,

et se terminera aux ar�nes...

- RusseII.
- For God's sake, what are you doing here?

You're supposed to be
on a pIane to EngIand.

l came to warn you. They're onto us.
l was arrested.

That was the idea, you idiot.

- What?
- Just go away!

(Commotion)

No. Er...listen, l was threatened all the way
through. He was the man. He threatened me.

You too, Mr Clark. l must insist.

You'll regret this, lnspector.
You're going to look the biggest fool on earth.

l'll take the risk.

The sad truth is, Dottore,
you've let yourself be conned.

The man's obsessed with destroying me.

(Mouths)

l have friends waiting for me.
l take it we may go now?

Yes. Yes, it would be a pity
to disappoint your friends.

(Orchestra tuning up)

What's going on? l'm supposed to be
taking my seat at the opera.

l am sorry, Signora Wilcox,
but we have a problem here.

Explain the problem before the entire
police force gets familiar with my underwear.

You don't have to say anything, Patti.

Don't be siIIy, RusseII, they're the poIice.

You go from Rome to the United States, right?

- Yeah, that's right.
MORSE: You're friendIy with Maureen Dyson?

Sure. She's a nice obliging kid.

You've arranged to meet her in America?

l don't know about meet.
She said she'd come

and heIp me unpack. Look, what is this?

- These acquisitions...you kept at your hoteI?
- Yeah, in my room. Why?

The mirror.

ls it possible that someone could have
entered your room last night?

Yeah. No... How wouId I know?

l was partying all night with the Sergeant.

A Liberale di Verona
or an original Guido Ventura?

Guido? What on earth's he been up to?

Faking to the end, Clark?

(Shouts abuse)

l-l-l wish to make clear
that l knew nothing of this.

l was threatened and coerced. Ventura there
threatened me when l tried to pull out.

Said something terribIe wouId happen,

so l went through with the sale
and then my wife... My wife died and l thought...

- l thought...
- You thought they'd kiIIed her to frighten you?

They said l was in it anyway.

That l was committed.

Now you, Clark.

lt must be terrible to live
with your level of distrust, Morse.

You know what l think?
lt's sexual inadequacy, isn't it?

You don't get a lot of success with women,
do you?

You'll have a long time to reflect on that theory.

Well, the theories work, Morse,
whether you like it or not.

You wouldn't have heard Nicole's voice again
without them.

She'll need to see me, by the way.
She needs reassurance

- before performances.
- Let's see how she does without you.

See you in the morning. Enjoy the opera.

- Mm-hm.
- Sir.

There's still time
for you to catch the late flight, Lewis.

Oh, morning'll do, sir. l can get an early call then.

Any chance of a seat in there for me?

I wouIdn't mind. I hope Miss Burgess makes it.

How did you get on with her, sir?

Pretty well. She spent the night
at the conductor's house here in Verona.

So, who hit you?

Maureen - who else?

? PUCClNl: Overture from Turandot

MANDARlN: ? PopoIo di Pekino!

(Footsteps)

Permesso? Signora Burgess,
l'ultima chiamata al palcoscenico.

? Signore, ascolta!

? Ah, signore, ascolta!

? Li� non regge pi�!

? Si spezza il cuor! Ahim�

? Quanto cammino

? Col tuo nome nell'anima

? Col nome tuo sulle labbra!

? Ma se il tuo destino

? Doman sar� deciso

? Noi morrem sulla strada dell'esilio!

? Ei perder� suo figlio

? lo l'ombra d'un sorriso!

? Li� non regge pi�!

? Ah, piet�!