Original subtitles

[Andrew] This way, please.

Thank you.

Why are they shutting you down?

Well, they're not, not really, just this building.

Everything's being moved to new premises.

[Susan] You're still here.

[Andrew] Oh, I'm nearly finished.

Moving the people and the machines

is the easy part, believe me.

Moving the files and the records is a whole different story.

But I'm getting there.

It's upstairs.

- [suspenseful music] - [keys tapping]

[Susan] I'm looking for a patient of Dr. Tremaine's

from the war.

[Andrew] Perhaps if you were to tell me

what it's in connection with?

[Susan] It's a bit complicated.

[Andrew] Oh, everything in my line of work is complicated.

John used to say that to the trained mind,

complexity is a delight, not a burden.

[Susan] You knew him well?

Oh, yes, we worked together

for several years before he retired.

He's retired?

You don't happen to know where he is, do you?

I think, let me see, I know he went on a tour of Europe.

But then, I'm sorry, I'm just not sure.

I haven't heard from him in quite a while.

Ah, here we are, this is me.

So, who was it you were looking for again?

A Malcolm Crowley.

Malcolm Crowley?

Yes.

Yes, of course.

He was an interesting case.

Quite a delight of complexity, believe me.

You saw him?

I mean, professionally?

I helped to assess him when he was referred to us,

but if I remember rightly, wasn't he killed?

Mr. Croft, if you assessed him,

then you must know there was something wrong with him.

Is this something to do

with what happened to him in the war?

I can't go into details.

Ah.

You do realize that, since I treated Mr. Crowley,

I had to sign the Official Secrets Act.

In fact, I was in the position of treating a good number

of people serving in delicate positions during the war.

So whatever is on your mind, you can tell me.

I think that he's very dangerous.

Sorry, I mean, I think he's still alive.

You're SOE, then?

Bletchley Park.

Bletchley?

- That was very hush-hush. - Yes.

Wasn't it all statistics and numbers?

Yeah, something like that.

And how did statistics and numbers

- lead you here, Mrs. Gray? - Oh, I,

I just saw a pattern and I followed it.

You're not working for anyone, are you?

Mm.

You did this all on your own.

Astonishing.

[somber music]

[Andrew speaking in foreign language]

I'm sorry?

From among the shades of the recent dead she came.

Is something wrong?

No.

I really must be going.

My husband's outside in the car.

I said I'd only be 10 minutes.

Of course, I'll see what I can find in the files.

And don't worry, I'll be in touch.

[suspenseful music]

[Susan panting]

[Susan exclaims]

[Susan grunts]

[eerie music]

[knocking at door]

- Susan, what is it? - I think it was him.

What?

[Susan] Crowley's at the hospital.

- Anything? - Nothing.

There's no one here, miss.

Oh, what about upstairs?

[Guard] All right.

[Susan] It's all gone.

We've been through the whole building.

Now, the man you said stole your bag,

you certain he came on in here?

Yes.

In the front door, out the back, most like.

Sorry, miss, he's long gone.

Where on earth have you been?

The one night a year I absolutely need to rely on you.

William Smith gave his life for me and my men.

I know.

If he hadn't thrown himself on that grenade,

I wouldn't be here.

There'd be no Claire, no Sam.

The least we can do is honor the man's memory once a year.

What's happened?

I, it's fine, I was um.

Gosh, it was the silliest thing.

I was coming out from visiting Lucy

and I slipped on the steps and I just tripped. [chuckling]

I really am so sorry about missing the memorial dinner.

So am I.

[thoughtful music]

This has to stop, you know.

Whatever this is.

You're my wife.

But above that, you're a mother.

That has to come first.

[somber piano music]

I'm sorry.

I'm sorry.

Well, you're a state.

Come on.

Let's get a wet flannel on that ankle.

[Susan chuckles]

[traffic whirring]

Harry?

[tense music]

Hurry up, will you?

Come on.

[thoughtful piano music]

Open your eyes.

[Lucy] [laughing] Is this for me?

Housewarming present.

This is your home now.

Thank you.

[cork thunks]

Jean, you terror.

It's damson gin.

I make it myself.

Just a wee tot, it's strong.

Cheers.

Cheers.

- Mmm! - [Lucy coughs]

[Lucy] How are you feeling?

Fine.

Steady your nerves.

Thank you, Jean.

Cheers.

[Jean] Cheers.

Why was he even there?

Why hide out in the hospital

that treated you during the war?

Well, we know the Meredith

specialized in psychiatric disorders.

So he's interested in psychiatric patients?

Same as all the men he set up.

Like Gerald Wiggins, Marco Giacommi, Terry Hudson.

They all had mental disorders.

Oh, my God, she's right.

Wiggins had shrapnel in his head, didn't he?

He has to find the right candidate to pin the crime on.

Not intelligent, articulate people

who can mount a proper defense, but

people with mental problems.

And where does he find people like that?

In the medical records of a mental health hospital.

He didn't even have to go looking for them,

he just had to leaf through the files.

They were all over the country, though.

But those cases would have been

too specialized for a local GP to handle.

They would've been referred to somewhere like the Meredith.

[Millie] So it was Crowley.

You're lucky to be alive.

[Cavendish] Mrs. Gray.

I met your dead friend yesterday.

Quite a lot shorter than you, fair hair, ring any bells?

Yes, that's him.

I was sat opposite him.

He was this close to me.

The police won't listen.

I need you to help me find him again.

I want his personnel file,

not just the bits you're happy to show me, everything.

I haven't got it.

[Susan] But you can get it?

How would it ever help?

At Bletchley, when we came across corrupted data,

we had to backtrack until we hit clean code.

That's how you find an error in the pattern.

All Crowley's giving us is corrupted data.

We need to backtrack to before he was killing.

We need to start from there.

That's how we'll find him.

I want the file.

Can you get it?

Perhaps.

There's more.

I need to know what's not in the file.

What do you mean?

Well, what it is that you're so reluctant to tell me.

What did you do, you and Crowley, at Electra House?

Susan, do you know what psychological warfare means?

No.

It means sapping the enemy's morale,

working on his weaknesses, his conscience,

his base fears,

and drives.

These images were designed to be provocative, titillating.

But the messages that went with the images

were intended to demoralize.

Like these, they were crude suggestions

that what you saw on the postcard might be

what was happening to your wife or daughter back home

while you were away fighting.

That was the principle, anyway.

And Crowley worked on these?

Oh, yes, he had a talent for it.

Some of the men were too embarrassed

to throw themselves into the work, but not him.

After the bombing incident, his pictures changed.

We couldn't use them, they were too extreme.

It wasn't our finest hour.

[suspenseful music]

They've muddled up our paper, this is the Telegraph.

Lunch is ready, can you carve?

Yeah, of course.

I'm thinking of taking the children

to the lido this afternoon, give you some time to yourself.

You can try your hand at the Telegraph crossword for once.

It's a lovely idea.

Did you do this?

[Timothy] What?

The crossword, someone's filled it in.

Hm.

You've still got two, three and six down.

Perhaps that paperboy is playing a joke.

[suspenseful music]

Daddy's taking us swimming.

I know.

I'm gonna dive off the board.

Mummy?

Is something wrong?

No.

No, of course not.

I just feel a little bit funny today.

[children laughing]

[tense music]

Hello?

Mr. Cavendish?

- [tense music] - [knocking on door]

[dial whirring]

[telephone ringing]

Hello?

[Susan] Millie, it's Cavendish.

[belling ringing]

Quickly, we haven't long before the police arrive.

[Millie] What happened?

[Susan] He's dead.

How?

It looks like suicide.

You think Crowley did it?

I just don't think he's the kind of man to kill himself.

Why now?

That's obvious, isn't it?

Cavendish was trying to find Crowley.

Well maybe he did find him somehow.

Personnel file?

We need to go and look.

[Millie] Right.

I can't.

I'm sorry, I can't do that again.

Lucy, we need you--

No, when we went into that cellar

and we saw Mary Lawrence--

I know it was awful, Lucy--

No, you don't know.

Because I still see it.

I see it every night when I close my eyes,

I see every part of it, every detail, I see her--

All right.

You don't have to.

Oh, crikey!

[Susan] Look over here.

The files from Electra House.

Where's Crowley's?

[Susan] It's not here, it's gone.

He must have taken it.

What's this?

These are a bit racier

than the end of the pier, aren't they?

No, it's not what you think.

They're part of what he was doing during the war.

He was ashamed of them, actually.

In fact, he wouldn't have had them out unless--

Unless what?

Unless he realized they were important.

[dramatic music]

How are you feeling?

I'm fine.

So he found something,

something in Crowley's personnel file.

Like what?

We won't know, Crowley's taken it.

Important enough to kill for.

Jean, do they ever keep duplicates of these files?

No.

Classified.

Master copy only.

If it's gone, it's gone.

Maybe it's for the best.

What?

Susan, Mr. Cavendish is dead.

And if what you're saying is true,

Crowley killed him because he was getting too close.

When we first started, it was strangers in the newspapers.

But every step we get closer to Crowley,

he gets closer to us.

He knows where you live, for God's sake.

Mr. Cavendish was an officer in the war.

You're just a girl.

Millie?

She's right.

What about your children?

Fine.

So what do we do now?

Take it to Deputy Commissioner Wainwright.

And hope he listens.

Please can we go now?

You met a man who you believe is the real killer?

[Susan] Malcolm Crowley, yes.

And that's the man you believe killed Mr. Cavendish?

Oh, yes.

But you have no proof of either accusation

and you have no idea where this Malcolm Crowley is?

Mrs. Gray, I don't think you realize what I'm seeing

from my side of the desk.

I'm sorry?

We have a man in custody thanks to you.

And all the evidence in the world to convict him.

The killings have stopped.

But you're still running around,

talking about a phantom that no one has seen,

- I have. - And stirring up the past.

And now a man has taken his own life as a result.

No, Mr. Cavendish was murdered.

You have no proof of that.

All you have is conjecture, imagination, theories.

Theories that are disrupting proper police work.

Now, we're grateful to you for your help but,

this case is solved.

It's over.

I have a responsibility here, Mrs. Gray,

not only to bringing the right man to justice

but also to you and to Timothy as well.

I'm quite certain he has no idea what you've been doing,

any more than he knows what you did in the war.

But if you're intent on pursuing this, this mistake,

then I'm afraid there will have to be consequences.

Do you understand?

[tense music]

Goodbye, Mrs. Gray.

Give my regards to Timothy.

[keys tapping]

Can't you sleep?

[tense music]

[water trickling]

[suspenseful music]

He's convinced Cavendish killed himself.

He told me to stop or he'd tell Timothy everything.

What happens if we do stop?

All that's necessary for evil to triumph

is for good men to do nothing.

Or good women.

All right.

Where do we start?

With these.

I'm sure Cavendish had these out for a reason.

They were supposed to be provocative.

What are the messages?

German soldiers, while you're fighting and dying,

who do you think is screwing your girlfriends?

These are different.

This is what you need to see.

No one in their right mind is gonna find these erotic.

[Susan] Cavendish said that after the bomb,

what Crowley produced changed.

[Millie] These are Crowley's?

[Susan] Oh, yes.

They're the same girl.

[Susan] Exactly.

If he drew these after the bomb,

after he was trapped in the rubble,

buried alive,

then this has to be the girl who was down there with him.

What if he became, I don't know, obsessed, fixated?

She was the first dead girl, underground in the dark.

This has to lead to Crowley.

We need to know who she was.

The source of his obsession could lead us to him.

I'm sorry.

I really am.

Mr. Cavendish was a kind person.

And a brave man.

You can help us find who did this.

How?

There was a girl.

She was killed

when the SOE Records Office was bombed in 1944.

We think if we knew more about her--

I'd already left the department by then.

I imagine those files

would have been put back into deep storage.

But if she was an SOE employee when she was killed,

then perhaps they were put with the department roster.

Come with me.

What year was it, '44?

We've got more than the year.

Lucy, in Crowley's records,

what date did it say they get him out of the rubble?

21st of May, 1944.

Right.

The whole building came down.

A lot of people died.

Wait, we need to check their faces.

Wait.

There she is.

Julie Oakwood.

Thank you.

Angela's given us everything on Julie,

employment summary, lots of dates and transfers.

She moved around a lot, there's a ton of bumph in there.

See enclosed Addendum A.

Oh, it's here.

This is interesting.

She made a formal complaint to her supervisor at SOE.

Malcolm Crowley had been following her, bothering her.

When's it dated?

Three months before she died.

So they weren't just

random strangers caught in a bomb blast.

He already knew her.

He already wanted her.

So this is where the pattern begins.

Yes.

I said to Mr. Cavendish we need to get back to clean code

to before Crowley was poisoning the data

and he must have found it.

He got back to Julie Oakwood which led him to Crowley.

And Crowley killed him for it.

There must've been something in the personnel file.

Well that file's gone.

Then we'll have to find another way.

[dog barking]

[clock ticking]

[thrilling orchestral music]

[Child] Mummy?

What is it, what's the matter?

I can't sleep.

Go back to bed.

The bogeyman's watching me.

There's no one watching you.

He's outside in the dark.

There's no one watching you, silly billy.

Come on, I'll tuck you in.

- [tense music] - [dog barking]

[background chattering]

It says here her mother died in '33.

[Millie] What about her father?

[Jean] No record of him here.

Oh, Susan that took us ages to put together!

Calm down, this is important.

Now, when Crowley killed the girls, he was clever.

He made a pattern that always pointed to someone else

but he carried on all over the country

and, I think, made another pattern.

A large spiral like a Nautilus shell.

So, we start here in Hereford.

He didn't stay there,

not after the police made the arrests.

He moved on, and each time he moved on

he got further and further away from where he started.

But Crowley's too intelligent to kill on his own doorstep,

he would've gone some distance away.

If we interpolate the data,

working back from the first murder which would be?

Cotswolds, it's the middle of nowhere.

Well it's never gonna be perfect.

What are the nearest towns?

Northleach, Coln St. Alwyns, Chedworth--

Chedworth?

[Millie] Yes, why?

Dear Julie, what absolutely super news about the job.

- I shall be coming-- - The postcard.

[Lucy] Yes.

Coming to London next week

and can't wait to hear all the details.

I'm afraid the holiday cottage

is in a frightful state after the storms

but I've put buckets round to catch the drips

until something proper can be done with, love, Dad.

Chedworth postmark, 14th January, 1944.

So the Oakwoods had a cottage in the Cotswolds.

And you think that was Crowley's starting point?

I'm sure it is.

I just don't know how yet.

We need to go through all the data on Julie Oakwood.

That's what I was doing

until you came in and knocked it about

- all over the place. - But you weren't looking

in the right places.

[Jean] Stop it, the pair of you.

Wait, there's something here.

They sent Julie's effects to a forwarding address

in North London care of her father.

We could call him and ask about the cottage.

His telephone number's right here.

- [tense music] - [dial whirring]

[Man] Barnet 7631.

[Susan] Mr. Oakwood?

[Malcolm] I'm afraid not Susan.

[tense music]

Now listen carefully to what I want you to do.

Did you get him?

[Susan] Yes, yes he was helpful.

Are you going to see him?

[Susan] Yes.

[Lucy] He might remember Crowley.

Mm.

I'll come with you.

No.

He's quite old.

It'd be a bit overwhelming, all of us.

It'll be upsetting for him, talking about his daughter.

All right, if you're sure.

I'm sure.

[tense music]

[Attendant] Tickets, please.

[background chattering]

[tense music]

[moves into eerie music]

[door creaking]

You came.

I had no choice.

It's not that I want to hurt your family but,

I knew you would need an excuse.

You do want to be here, don't you?

Be honest with yourself.

You've been bereft, like me.

Ever since the war ended,

you've been waiting and hoping and longing.

Believe me, I understand.

But you didn't give in.

And somehow you found me.

No one else came close.

I was waiting such a long time for you to call.

You were waiting for me?

Dear Julie, what absolutely super news about the job.

I shall be coming down to London next week

and can't wait to hear all the details.

I couldn't really believe, you see?

I thought, does her mind really burn that brightly?

So I arranged things.

I set a little trap for you.

Mr. Cavendish.

All those complicated files.

You are beautiful.

Julie was beautiful.

Now, by the horrors which these realms surround,

by the vast chaos of these depths profound,

by the sad silence which eternal reigns

o'er all the waste of these wide-stretching plains,

let me again Eurydice receive.

I'm not her.

Put the gun down, please.

You can't escape.

And besides, you're not a killer, Susan.

You know that.

Put the gun down.

[haunting music]

Thank you.

Would you go to the table, please?

You'll leave them alone?

Your family is safe.

You have my word.

There.

By the lamp.

Would you put it on, please?

[Susan gasps]

Carefully.

Thank you.

I thought I'd lost you forever.

I am not Julie Oakwood.

You know what we have to do.

No.

We don't.

I know what happened to you.

That wasn't your fault.

It was horrible.

- But you have a choice now. - Please.

Don't be mundane.

Neither of us have a choice.

Everyone else can carry on their

hopeless, empty, boring existences.

Your son, your daughter, your husband.

But in here, it will be just the two of us.

Please.

It won't hurt.

Please, leave them alone.

- It will be beautiful. - [Susan gasps]

[gunshot booming]

[Susan shrieks]

[gunshots booming]

Pin, pin!

Someone find the pin!

Hair pin, Jean.

Oh, my God.

Susan, let go.

It's all right.

[Susan sobs]

It's all right.

It's all right.

[birds chirping]

- [background chattering] - [engine rumbling]

[Man] And that's everything you can tell us?

All right, boys.

I'll deal with this now.

May I?

I should have listened.

Why didn't you tell me?

I went to get a fag

and when I saw the gun was missing.

You should have told me.

There, all done.

What do I do now?

What do I say?

If you try to explain,

you'll end up telling him about Bletchley.

Everything.

[thoughtful orchestral music]

[Timothy] And I slay the dragon!

[children laughing]

Hello, Mummy.

[thoughtful orchestral music]

[suspenseful music]