McDonald & Dodds (2020) s04e01 Episode Script

1
(insects chirping)
(truck engine revving)
(van driver) This is you.
(handbrake screeching)
MUSIC: "I'm a Good Man"
by James King.
Take care now.
# Mm-hmm
# Oh, yeah
# I'm a good man
You can trust in me
# A mighty good man
As good as can be
# They say I'm handsome
And I realize that's true
# 'Cause you were made for me
And, baby, I was made for you
# I'm a good man
# Mm, yeah
# Oh
# Mm, yeah
# I'm a good man
# Mighty, good man
# Oh, yes, I am
# Listen, why look for silver
# When you can have gold
# I ain't too young
# And, baby, I ain't too old
# I'm a humble man
# And I'm always true
# You were made for me
And, baby, I was made for you
# I'm a good man
# Mighty good man
# Good man
# Mighty good man
# Oh, yeah, baby
(inaudible)
# I like the way
# You smile at me
# I guess you like
Everything you see
(dramatic music playing)
(footsteps approaching)
# I'm a good man
# Mighty good man
# I'm a good man
(train whistle blowing)
# I'm a good man
# Mighty, good man
# I'm a good man
# A mighty good man
# I'm a good man
# A mighty good man #
(train whistle blowing)
(laughter)
(theme music playing)
(music concludes)
The Sunne Rising
annual pitch and putt
traditionally takes places
on August Monday, bank holiday.
But no one's actually bothered
to book the course.
So, we may have to push it
till September,
which actually suits me
down to the ground, Ma'am,
because, er, rain and squalls
I thrive in pitch and putt
in those conditions.
You're very chatty this morning.
Oh, sorry, Ma'am, erm
Wine last night?
Hmm. Red.
Always makes my head a bit fuzzy.
Well, at least you were home
all night, so, er, no damage done.
Ah, there's never any damage.
How'd you know
I was home all night?
Well, Ma'am, you always report
drinking red wine at home
and white wine
when you're dining out.
Yeah. Red wine, home.
White wine, out.
Took me and the boyfriend ages
to realise why we did that.
Yeah, er, red wine at home
so that you don't have to keep
popping backwards and forwards
to the fridge.
Yeah.
-Very good.
-(thunder rumbling)
Blue lips, swollen.
(gasps) Yeah.
Not the first time I've seen that.
Pathology will have to confirm,
but it looks like
a ligature strangulation.
On a busy bus, Ma'am?
Well, a few seconds is all you need
to render him unconscious.
Five kilograms worth of pressure,
to be exact.
(tense music playing)
Well, you need
a lot more pressure and time
to cut off the windpipe
and cause brain death.
(pen scribbling)
Ma'am, er,
this is the number six bus.
It's one
of the most popular in Bath.
Er, especially in the rush hour.
For someone
to have killed this man.
Well, he would have had
to have done it
in the blink of an eye.
And even then, nobody saw him.
Monthly bus pass. Ian Andrews.
Bit of cash
and bank card
and this. Completely blank.
(Samuel) I'll get it
to tech services.
See what that magnetic strip
tells us.
Here we are. Ian James Andrews,
aged 33, divorced, various jobs.
(Lauren) He looks familiar.
(Dodds) Ooh,
I think you're right, Ma'am.
Lives at 14 Saltmarsh Street,
Larkhall.
Oh, well, now, that is
that is That's near the
That's the point of the start
of this bus's journey.
Yeah. "Larkhall terminus". There.
(music concludes)
First on at Larkhall terminus,
every morning. Weekends too.
He gets on, he pays,
he takes a paper,
and he goes upstairs
to the front left seat.
And where where does he
normally get off?
-Bath Spa station.
-(Dodds) And did you, erm,
-run to timetable this morning?
-(chuckles) Er, as best I could.
But there's roadworks everywhere.
You know, three or four diversions.
The bus should have a GPS system.
It's on a hard drive
in the office, mate.
If we can access the stored data,
it should give us
accurate times and locations.
Did anything odd happen
between here and Larkhall?
-What do you mean?
-Anyone acting suspiciously?
(smacks lips)
Nobody that looked like (sighs)
they'd do what was done
to that guy.
(device beeps)
He's unemployed and on benefits.
Where's he going every day?
-Seven days a week.
-(Dodds) Wearing a suit.
(Lauren sighs) Right.
Ian Andrews
was strangled to death on a bus
that was going through
the city centre at rush hour,
and nobody saw a thing. How come?
Get on to local media,
radio stations, Bath live app,
appealing for anyone
who was on the number six
between 8:00
and 9:00 a.m. this morning.
And start looking at CCTV
for every bus stop on the route.
Let's reconstruct
Ian Andrews's final bus journey.
(tense music playing)
Ian Andrews.
Divorced two years ago,
ex-wife and kid lives
in New Zealand,
no other living relatives.
(exhales)
(breathes deeply)
(dog barking in distance)
(Dodds) Ma'am?
Money, Ma'am.
US dollars?
-There's 200 there.
-And I reckon there's about, er
20,000 in there.
Look at that.
Some sort of ticket stub.
"The Brits And The Blues.
Masterclass
with Professor Clarence Adderly".
It's dated from yesterday.
The Avalon Festival of Ideas. Hmm.
-Festival of Ideas?
-Well, yeah, they they call it
the Glastonbury of politics,
philosophy and literature.
Er, it's a sort of
intellectual shindig.
Takes place every year,
over at Compton Dando.
Clarence Adderly.
Emeritus Professor of US History
at the Virginia
Commonwealth University.
Careful with the screen.
I've set it to sensitive.
Specialising
in the American Civil War.
But
but oh, no, he's British.
Er, born in Liverpool.
And he's also a leading authority
-on the Blues
-(scoffs)
and its history.
My dad was into that stuff.
When I was growing up,
after a few shandies,
he'd always sit us down
and make us listen to the blues.
(Dodds) In 2021,
Professor Adderly published,
er, the first volume
of his definitive
three-part history of the blues.
(upbeat music playing)
-(indistinct chatter)
-(crowd applauding)
-(guitar strums)
-(crowd applauding)
As our riff travels north
from the Delta,
propelled by the singular,
authentic voice
of Robert Johnson
(audience chuckling softly)
-it becomes hardened
-(guitar strums)
by the urban,
industrial experience.
-The blues becomes electrified.
-(audience chuckling softly)
And the torch passes
from Muddy Waters
-to players like BB King
-(audience chuckling softly)
(Clarence) who shifts the guitar
from rhythm to lead.
When this is heard by John Mayall,
Alexis Korner, Keith Richards
-(audience laughing)
-However, our riff doesn't atrophy.
Because it's developed
and improvised upon
by the likes of Jimmy Page,
Peter Green and Eric Clapton
(audience chuckling softly)
# Tell my friend, boy, Willie Brown
# I'm standing at the crossroads
Believe I'm sinking down #
-(audience cheering, applauding)
-(guitar strums)
Thank you.
No. Sorry.
His name's Ian Andrews.
He was found this morning.
Dead,
under suspicious circumstances.
Okay.
The only lead we have
is this ticket stub
for your talk yesterday.
Hmm. We also found
20,000 US dollars
hidden under the bed. (chuckles)
(chuckles)
I don't know what to say. I
Sure. We just have to follow
every available lead.
Sorry, this is routine, Professor,
but can you confirm
where you were this morning
between 8:00 and 9:00 a.m.?
I'm a happily married man.
I love my wife, I love my kids,
grandkids
(crowd cheering, applauding)
but this morning, at 8:00 a.m
I was with someone else.
Can we have a name?
(chuckles) Nope.
She's married, and, er
sorry, I'm a gentleman.
Does your wife know that?
(crowd cheering, applauding)
-(birds chirping)
-Joan?
-(tense music playing)
-Clarence.
Yeah! (chuckles)
No, I'm
I'm having a ball, really.
Yeah. Er, look, listen.
Is, erm
is Mr Ambassador available?
Great, I'll hold.
Lot 124. A very desirable miniature
Georgian carriage clock. Gold.
Shall we start the bidding
at 3,000 pounds?
Three thousand one hundred.
Madam, 3,200.
Three thousand three hundred.
Three thousand four hundred.
Three thousand five hundred
with you, madam.
Three thousand five hundred.
Do we have 3,600?
Three thousand six hundred
and sixty pounds. Sold!
For 3,660 pounds,
the lady at the front.
-(indistinct chatter)
-(music concludes)
(groans) We could've got four K.
It sold 25 percent
over the reserve.
The bank won't extend
Daddy's credit.
I'm on a streak. We're good.
(teacup clinking)
We're really good.
-(dramatic music playing)
-Aren't we?
(drawer opening)
It breathes with the years.
-And we do have a sale, don't we?
-Mm-hmm.
(music concludes)
Okay, I have to handle
a Community Impact Assessment
to reassure our stakeholders
it's safe to use public transport.
And it would really help
if I could mean it
when I said that we are making
significant progress.
So, our victim
had a public profile.
I thought he looked familiar,
Ma'am.
So, five years ago,
Ian Andrews single-handedly foiled
an armed robbery,
over in Bristol in a betting shop
where he worked.
He was all over the telly,
the papers, for months after.
The crew he foiled,
they're all still in prison.
But it doesn't mean
we can rule them out
as far as commissioning the crime.
And why in public on a bus?
And why didn't anyone notice?
We don't know yet,
but we've narrowed it down.
So, whoever killed Ian Andrews
must have known
that he was a creature of habit.
Every morning,
at 8:00 a.m., seven days a week,
he'd board the number six bus
-here at Larkhall.
-(tense music playing)
(Dodds) And then make his way
to his usual seat
in the front left-hand corner
of the upper deck.
Where he'd, er, settle down
with the puzzles from the, erm
This free paper. As you can see,
he's made a start
on the word wheel,
but he's only got as far
as about half
of the easy, er,
three-letter words.
Point of death, Ma'am.
Now, I reckon it'd take me
about 15 minutes
to get this far on the puzzles.
So, that takes us
to around 08:15
And that's Morrison Street.
Around there.
And he always got off
at Bath Spa station.
At 08:27.
So, we focus
on this 12-minute window
between Morrison Street
and Bath Spa.
Thank you. Thank you, Ma'am.
At some point, er,
within this time window,
and from, er, this stop
on the journey
through to this stop,
the killer must have sat
directly behind, er, the victim
in in order to shut the windpipe
quickly and efficiently
and, er, get off the bus,
leaving Ian Andrews dead.
-With 20,000 dollars under his bed.
-Hmm.
-(sighs)
-Er,
-so far, we have TIE'd
-(tablet clicks)
79 potential witnesses.
Eight people think
they remember seeing someone
sit behind the victim,
but we can't even get
an agreement on gender,
-let alone age, ethnicity, build
-Okay. We reassure the public
with a uniform present
on all city centre bus routes.
And when they're on the number six,
they're gathering more statements
-from regular commuters.
-(mobile phone buzzes, rings)
Yes, I have to take this.
It's the assistant
chief constable again.
-(mobile phone rings)
-I'll be back in an hour.
-(mobile phone beeps)
-(Mary) Hello?
(breathes deeply)
Ma'am, we've had another witness
come forward. Name's Hilary McLean.
She was sat upstairs
between Larkhall and Bath Spa.
(music concludes)
He was White. Mid to late thirties.
Brown eyes.
Unshaven, and short, dark hair.
And he was wearing, like, erm
like a zip-up sports top in grey.
Black shorts,
black trainers and gloves.
That's very precise, Hilary.
You got on the bus at, er,
Larkhall terminus
at 8:00 a.m., er, Ms McLean?
(Hillary) Yes.
(Dodds)
Had you seen the dead man before?
Yeah, every time I get the six.
Mondays and Thursdays, usually.
And, erm, where
where were you seated, Ms McLean?
(Hillary) Right there.
(Dodds) So, on the right,
the top of the stairs.
So, you would've been able
to see everyone come up
and down the stairs
for the duration of your journey.
Yeah. I suppose.
Okay, let's get back to the man
-that you saw acting suspiciously.
-(mysterious music playing)
(Dodds) Er, so,
where did he, er, get on?
Guildhall.
And he sat right at the front.
Just behind the the dead man.
And how long was he, er,
with you on the journey?
-Ten minutes, I think.
-Do you know where he got off?
No. No, I'm not sure.
I had to take a phone call
from work.
What was it
that was so peculiar about him?
Well, it was when he came
to get off. He just
Well, he just didn't move.
Like, he just stood there.
Behind the victim?
(Dodds) For how long?
(Hillary) Twenty seconds,
half a minute.
(Lauren) Looks like we've got
a serious suspect, Sarge.
Yeah, this man standing
behind the victim.
Ma'am.
I've checked through the street,
residential and business CCTV
around all the stops in the window,
and I've got this.
There.
Getting on
at Morrison Street at 8:15.
(music concludes)
Is there any possible connection
between Adderly and Ian Andrews?
Not yet.
Adderly's only been in the country
for a week, he lives in the US.
Has done for the last 25 years.
Yes, the US Embassy
has been in touch
concerning our treatment
of Clarence Adderly.
-What?
-(Mary inhales)
And whilst he's not lodged
a formal complaint,
he did express some minor distress
about your attitude and behaviour
when you interviewed him yesterday.
-He cheats on his wife of 40 years.
-We're the police.
But when I asked him
where he was yesterday
between 8:00 and 9:00, he lied.
Did he?
He he just told us
that he was having
a romantic assignation.
When we when we tried
to push it further,
you did, you know, you
-You you misspoke.
-(mobile phone chimes)
(Mary) Ah, okay.
Tech services have identified
the blank plastic card
-in the victim's wallet.
-(tense music playing)
A left luggage locker
at the bus station.
You'd better get down there,
DCI McDonald.
-Ma'am.
-(Mary) DS Dodds,
our inquiry has now
definitively placed the professor
at the crime scene.
So, he's a a witness,
not a suspect.
-(bell rings)
-(indistinct chatter)
(locker beeps)
Silver body paint?
Now, the question
that fascinates me
as an Afro-Anglo-American
from the 'hood
is why why this recurring
cultural convection
between obscure,
Black-American musical genres
and young, White working class
and lower middle class Brits?
-Because
-(man clears throat)
we share a history,
for good or ill.
We hear the century-old blues
holler from the Delta
right here, right now,
and its essential authenticity
sings to us
and touches our shared humanity.
(audience applauding)
Any questions?
(Nicolas) Thank you.
Professor, might I return
to that question of essential,
-universal authenticity?
-I'm listening, sir.
Full disclosure.
I am Nicolas Olayinka,
and I'm a specialist in developing
manufactured neural networks.
You mean AI?
-(audience laughing)
-(chuckles)
An emotive term that we prefer
to avoid at the cutting edge.
But my work does present
some disturbing questions.
And, Professor, I'm on your team.
I, too, passionately believe
in the human touch.
And no machine can replicate,
for example,
Robert Johnson's authenticity,
the artist at the centre
-of the blues creation myth.
-(audience) Hmm.
Or can it?
Professor,
the possibility torments me,
and one way or another,
I have to know.
Please expand, Mr Olayinka.
I wonder if you'd indulge me
in a friendly experiment.
Er, suppose I asked my program
to synthesise a blues recording
from the 1920s or '30s.
-Could you
-(man clears throat)
Professor Adderly, distinguish
-between the authentic and, er
-And the fake?
-(audience laughing)
-(chuckles)
I prefer the term MODO,
music of digital origin.
(chuckles)
-Let's do it, Mr Olayinka.
-(audience cheering, applauding)
Er, there.
(printer whirls)
(Samuel) If only all our witnesses
-were like Hilary McLean.
-(printer whirls)
(Samuel) It's a lot
of detail here, Ma'am. A lot.
Oh.
(siren wailing)
(Lauren) Okay,
we have our second suspect.
This man was seen by Hilary McLean
standing directly behind the victim
for 20 to 30 seconds
between Morrison Street
and Cadogan Square,
within the window of 8:15 to 8:21.
So, we check all street CCTV
across those stops.
Exactly. Specifically,
looking for this guy getting on
or off the bus.
Now, we're specifically interested
in where you were
between 8:15 and 8:27
on the Monday morning.
I would have been in transit.
-From my, er
-Oh, your romantic assignation?
-Yeah. Erm, transit?
-Yeah. I got a bus.
I don't remember which one
or exactly what time.
But I have a feeling
that you're about to tell me.
I am indeed, sir,
it's the number six from Larkhall.
Er. There you are, sir,
boarding at Morrison Street there
at exactly 8:15 a.m.
And, er, this renders you
a significant witness.
And this is important because
Oh, because the person
that we spoke about yesterday,
Ian Andrews, he was
he was murdered on this bus
between 8:15
and 8:27 a.m. (chuckles)
Can I ask you where you sat, sir?
Upstairs.
Er. Now, that
that is music to my ears, sir.
You see, because our victim,
he was in the front
left-hand side seating
when he was strangled.
What? Strangled?
(chuckles) Now, that I did not see.
Strangulation? Did anyone?
Have you any idea roughly
where you sat, sir? (chuckles)
The seat behind the guy.
You think
that's where the killer sat?
Oh, yes, sir. That
that is the working theory, yeah.
Well, I don't remember
exactly where I sat.
But I Maybe I did sit there,
but (chuckles)
I did not strangle
a complete stranger.
-You feel me, Sergeant?
-Er.
-Oh, yes, sir, I feel you. Er
-(Clarence) Good man.
Oh. (chuckles) Yeah.
Oh, yes, of course, sir.
(chuckles)
(Lauren) He didn't want us to know
he was on that bus. Why?
If he didn't murder Ian Andrews.
Or if he did, then he knows
we haven't got any eyewitnesses.
(Samuel) Ma'am.
This is the bus station
last Sunday.
So, we've got Ian Andrews.
He takes a bag out of the locker
and takes it to the toilet.
-Now
-(keyboard clicks)
we fast-forward
20 minutes and
-(keyboard clicks)
-Oh, that's Mr Darcy.
I see him a lot
when I go to choir practice
at the abbey.
(Lauren) So, that's why no one knew
where Ian disappeared each day.
-Because he was disguised
-(sighs)
(Lauren) as Mr Darcy.
-(uplifting music playing)
-(indistinct chatter)
How can you
just stand there all day?
Not moving, not talking to anyone.
Just on your own.
Well, I never thought
I would say this
when I was applying
for the Met, but
-let's go interview Jane Austen.
-Ma'am.
Hilary McLean.
(Hilary) The home help job
is just part-time,
so, I do this some afternoons
and Sundays.
I actually earn more
from doing that than my real job.
Is everything okay?
There's a, er a living, erm,
statue here, erm
Mr Mr Darcy. Erm, recognise him?
Yeah, his patch is just over there.
And do you ever, erm, talk to him,
interact with him?
Er, no.
Is this about the dead man
on the bus?
This is the man on the bus.
Ian Andrews. Mr Darcy.
Oh, that's that's awful.
I didn't Mr Darcy?
I didn't know.
Did you, erm,
notice anything unusual
or different about him recently?
(smacks lips) Oh.
Well, I don't know
if this is unusual,
but sometimes,
when I'd be going home
in the evening,
I'd see him up in that alcove,
you know, on Salvesen Street.
That's a bit of a dead area,
isn't it?
After everyone had gone home,
even if it was raining,
just standing there,
looking at nothing.
You know, no one to look at him.
(smacks lips) And when did you,
erm, last see him there?
Er. It was last Wednesday,
about 7:00 p.m.
Ian Andrews
had his 15 minutes of fame
by taking on three armed robbers.
But then he started complaining
about the attention he was getting.
Started drinking,
his marriage fell apart.
Yeah, well (exhales)
there's a few chaps
down The Sunne Rising
going down that route.
Ian Andrews. It was like
it was a curse being a hero.
So, he became a living statue,
so people didn't recognise him.
-(birds fluttering)
-(tense music playing)
-What is it?
-I don't know, Ma'am.
I don't know.
-(door creaks, opens)
-(birds fluttering)
Hello?
(birds fluttering)
Sir?
(glass crunching)
It's blood spatter on the nose.
(birds fluttering)
-Let's see who he is.
-Alan Jones.
Also known as Jinxy.
He was my best friend at school.
(sighs)
(birds chirping)
(indistinct chatter)
You okay?
Yeah, fine.
Was, er, Jinxy married? Kids?
Er. No, no. He, erm
His sister, Mabel, actually died
a couple of years ago.
He's been on his own,
er, since then.
Is the pathologist ready?
-Yeah.
-Right, let's, er, set to it.
-What did he work as?
-Er. He was a sign-writer, Jinxy.
He was, er, Bath's last
(sighs) sign-writer.
Well, first of all,
he's been dead at least four days.
Probably longer.
-As long as last Wednesday?
-That would fit.
His pockets have been rifled.
I'm not gonna get prints
from clothes.
His nose has been badly broken.
Spatter patterns suggest
a powerful blow to the face.
And here, a large contusion
to the side of the head.
I'd work on the theory
that that's what killed him.
(glass crunching)
I'm not seeing
any defensive injuries, so
One blow to the face?
-No intention to kill?
-Yeah.
Okay, you're clear
to take him back to the PM.
Ma'am, there's,
erm (clears throat)
there's a a bottle label,
er, there, Ma'am.
DC Goldie?
There.
-It's a wine bottle, isn't it?
-Er
Fine tooth comb. We (exhales)
sift through
the other pieces, er,
reconstruct the bottle
and pull for prints?
Yeah. And maybe we get DNA?
What do you think
Jinxy was doing down here?
I don't know, Ma'am.
Looks like he was using the place
as a temporary workshop,
and, erm,
it wouldn't be the first time
someone's punched Jinxy in anger.
(breathes deeply)
He was (exhales)
He liked to annoy people.
You know, goad them.
And we we all
(clears throat) tolerated it
at The Sunne Rising, but
(breathes deeply)
he was so small. He
Wouldn't take much to flatten him.
So
someone killed him
in a moment of madness,
rifled his pockets
but didn't take his wallet.
-What were they looking for?
-I don't know, Ma'am. I mean
He's not very rich, was he? (sighs)
Yeah, and then
to pull over these shelves
and to smash all the glass
to just confuse
and contaminate the crime scene.
Ian Andrews was standing over there
on Wednesday.
What if he was murdered
because he saw
what happened to Jinxy?
-(mobile phone chimes)
-(tense music playing)
Ormond.
I really wanna work this case,
Ma'am.
-Okay.
-(mobile phone rings)
(Lauren) Ma'am?
(Mary)
You had a personal connection
-to the victim, Sergeant Dodds.
-Yes, Ma'am. Erm, Jinxy
Sorry, erm
Mr Jones was my friend.
Ma'am, I'm struggling
for manpower here.
We're still tracing
and interviewing
all the bus passengers.
I could make a request
for extra support.
Sergeant Dodds works
-alongside the inquiry
-(breathes deeply)
(Mary)
in a non-evidential capacity.
He doesn't take any statements,
so he can't be called to court
in the event of a trial.
Okay. Thanks, Ma'am.
-Thank you, Ma'am.
-(Mary) Sarge?
Yes, Ma'am?
Ian Andrews witnessed the murder
of your friend last Wednesday,
but he didn't report it
to the police.
Why not?
Does this explain the cash
under Ian's bed?
Was he blackmailing the killer?
Twenty K in US dollars does lean
towards Clarence Adderly
as the killer-stroke-blackmail
victim.
And this person
still hasn't come forward,
despite saturated witness appeals,
-which is suspicious in itself.
-(tense music playing)
-Do we have anything on him?
-No, er, Ma'am.
Well, whether or not
Ian was blackmailing the killer,
it's your friend
who's the key to all this.
He's the one with the connection
to the murderer.
-Isn't he, Sarge?
-Yes, Ma'am. I'd say so.
Alan Jones, also known as Jinxy.
Get everything we can on him.
And all the people
that we've traced from the bus,
re-check their background to see
if there's any connection to him.
We need to find out
who owns that glass factory.
I've also found out
your friend liked
to do a bit of travelling, Sarge.
Three separate
month-long trips to the US,
over the past seven years.
Most recently, last February.
Jinxy? Travelling?
You must've noticed
when he wasn't around.
Yeah, well
Yeah, we'd go for a few months,
wouldn't see him down the pub.
Well, each trip,
he takes out a four-week car hire
-from New Orleans Airport.
-No, no. No, no.
That's not what
his bank statements are saying.
His itinerary every time
is a couple of nights
at the Bourbon Street
Shakedown Hotel,
and then he criss-crosses,
Mississippi, Alabama,
South Carolina,
always finishing
in Memphis, Tennessee.
America again. The Deep South.
Everywhere we look,
we're seeing Clarence Adderly.
I've visually colour-coded
each of his trips.
So, red for 2017,
yellow, 2019, blue, last year.
You can see his routes
and all the places he's visited.
Erm, every bar, motel,
diner, filling station.
He's just buzzing around,
randomly, back and forth.
(Dodds) And after school,
we started drifting apart.
I got a job
in in Brockley's ironmonger's,
but Jinxy thought that was boring.
(indistinct chatter over walkie)
All right?
He wanted to take his guitar
on the road, like that old song.
(indistinct chatter over walkie)
Find himself
a rock and roll band and all that.
And he ended up a sign writer?
Yeah. (scoffs) Youthful dreams.
Well, it can happen
to men, can't it?
Midlife crisis and all that.
Was he not a happy guy?
Oh, well, no. He (scoffs)
Er. He used to say, well, boast,
"I'm only happy
when I'm miserable".
-(chuckles)
-(tense music playing)
-Shouldn't that be
-Yeah. Route 66. Not 666.
(breathes heavily)
Do you know,
Jinxy has lived here for 40 years,
and I've never been here before.
(Lauren) Blues, blues
All blues records.
All those trips to the States.
He was buying all this memorabilia.
It's, er
Well done, Jinxy.
Okay. I'm gonna go
and check through the living room.
When you're ready,
you check his bedroom.
Give yourself a couple minutes,
though, yeah?
(soft music playing)
(train rumbles)
(muffled blues music playing)
(soft music playing)
(sobs)
(breathes heavily)
(sobs)
(Lauren) "Best wishes, Clarence".
(music concludes)
A signed copy
of Clarence Adderly's book,
The Contract At The Crossroads.
And Jinxy's highlighted something.
"Despite the valiant
and exhausting efforts of scores,
if not hundreds, of dedicated
and fanatical blues researchers,
little Robert's map,
which is rumoured
to specify the exact crossroads
where he sold his soul,
remains tantalisingly
beyond our reach.
The lost chord
that may never complete the tune".
Who's little Robert?
(Dodds) That's, erm,
Robert Johnson.
Erm, and his contract
with the crossroads,
erm, it's it's the legend.
You know, erm, Clarence Adderly
was talking about it
at the Festival of Ideas.
It's the birth of the blues.
The legend goes
that Robert Johnson,
way back in time
in the Mississippi Delta,
met the Devil himself
and sold his eternal soul
to gain the blues.
Champagne Fleurette, '89.
From the bar code,
we know it was purchased
in Shakers Wine Shop on Beau Street
at 5:45 last Wednesday
by Clarence Adderly.
MUSIC: "Blues In The Night"
by Bobby Bland.
Thank you.
(music concludes)
-Nope. I don't know him.
-His name was Alan Jones.
We found him dead yesterday
in the old glass factory
on Salvesen Street
under suspicious circumstances.
(chuckles) So, every murder
that goes down in Bath,
-you wanna pin on me?
-The killings are linked.
(Dodds) And this man here,
is the, er
He Like you,
he was a Jinxy, he
he was a fan of the blues.
Er, and at (clears throat)
at the crime scene,
close to the body, we recovered
a smashed Champagne bottle.
And when we reconstructed
the bar code,
we traced the purchase
back to you, sir.
(breathes deeply)
Would this have been
the Champagne Fleurette?
(Lauren) Yep.
(inhales sharply)
I think I left that in a taxi.
(chuckles)
It's only a matter of time
until we pull fingerprints.
So, if you'd just like to volunteer
a sample of your prints,
then we can easily clear this up.
You know (scoffs)
on the day that I was granted
my US citizenship,
I thought I would celebrate.
So, I (laughs)
I hired
a red 1968 Alfa Romeo Spider.
I thought I would, er, drive down
through the Carolinas, and
(chuckles) I got pulled over
by a couple
of state troopers and
Well, I don't need to tell you
how it went after that.
So, I'm kinda wary
of getting involved with cops
on this kinda basis, you feel me?
Sergeant Dodds?
No, sir. I don't think I do.
No prints. Sorry.
Okay (exhales)
well, what about this.
Where were you last Wednesday
around 7:00 p.m.?
With your
your special friend?
(chuckles, smacks lips)
No, Detective.
I can tell you exactly where I was
and exactly who I was with.
Clarence Adderly? Yes.
Yes. He's a client.
Well, a potential client.
He's very distinguished.
Erm. When was the last time
that you saw Professor (sighs)
Professor Adderly?
That would be last Wednesday?
Yes. Last Wednesday at about 6:30.
You're still open then?
(Geraldine)
It was a private viewing.
The professor is a collector
of minor Edwardian landscapes.
It's a burgeoning market.
Er, how long was he here for?
(Greg) A couple of hours.
Monday morning
between 8:00 and 9:00 a.m.,
-where were you both?
-We were here.
Anyone who could verify that?
No. Why would there be?
You know, you still haven't asked
why I'm asking you this.
(chuckles softly)
We see a lot of the police here,
looking for stolen goods.
They never tell us anything.
We're used to your methods.
Okay. Well, we're here
because we're conducting an inquiry
into the suspicious death
of this man.
Alan Jones.
He's, er, sometimes known as Jinxy.
(Lauren) Did you know him?
-(Geraldine) No.
-No. (clears throat)
Well, his murder was connected
to the killing of one Ian Andrews
on Monday morning.
-Do you recognise him?
-(both) No.
Would you be willing
to give us a sample
of your fingerprints
for elimination purposes?
-No.
-No.
There's a lot of no's here, folks.
Yeah, er, something happened
in that glass factory,
and a punch was thrown,
and it killed Jinxy, Alan Jones.
Now, if if if either of you
threw that punch,
then you are in serious trouble.
(breathes heavily)
And if either of you witnessed
the throwing of that punch,
the murder of Jinxy Jones,
and you didn't report it
(shakily)
then you are in serious trouble.
Do you understand me?
(mutters)
Good day.
-(indistinct chatter)
-(glass clinking)
-(Brian) To Jinxy.
-(all) Jinxy.
Come on, now, Doddsy.
Say what you wanna say.
He was murdered.
Murdered? Jinxy was murdered?
What? Deliberately?
-Why?
-Chaps, we
(glass thudding)
We think that Jinxy was killed
last Wednesday.
How?
One punch
-in anger.
-(delivery driver) I knew it.
I knew Jinxy's mouth would
get him killed one of these days.
Did any of you see him
in the days before he died?
-No.
-(Dodds' friend) Nope. Sorry.
And did you ever see him
with a stranger, something odd?
Sorry, Doddsy.
We haven't seen Jinxy here since
Easter Monday.
What did you say to him, Doddsy?
He never came back here after that.
That Brian one,
was he actually making eyes at me?
Oh, yeah. I'm sorry, Ma'am.
You know, er,
Brian's quite the ladies' man.
Now, he's, er, he's had a fling
with most of the female
rock singers in the 1980s.
Er, power ballad. I'll say no more.
So, I'm sorry about that.
So, what happened on Easter Monday
between you and Jinxy?
Well (exhales)
I was I was drunk,
and I was
-I gave him a piece of my mind.
-(door opening)
Lauren. I didn't want
to shoot my bolt in there
in front of the lads.
Stout fellows,
but they're, erm, amateurs.
Truth is, Laurie,
I ran into Jinxy
after my gig at The Bell.
-(Dodds) What, last Tuesday night?
-Yeah.
Er, Brian's the lead singer
in a Bad Company tribute band.
Worse Company.
I once went out on the pull
with Paul Rodgers.
Right. Tuesday night, Brian. Jinxy?
Oh, yeah.
Well, Jinxy was on one
of his all-day benders.
-Yeah. Happy being miserable.
-(Brian) No, Doddsy.
Jinxy was happy being happy.
I've never seen him so happy.
It was in his eyes.
They were twinkling.
His eyes were twinkling
with happiness.
Twinkling?
So, what was he so happy
about being happy about?
The crossroads.
Yep. He'd found the crossroads,
and it was gonna make him rich,
seriously rich.
Did he expand on that, Brian?
Jinxy didn't ever expand.
He just sank his Old Peculiar,
told me I was the worst singer ever
and that my whole life
was one big, pathetic lie,
especially to myself, and left.
-God, I'll miss Jinxy.
-Oh, me too, Brian. Me too.
-Thanks, Brian.
-(smooches) One love.
MUSIC: "I Woke Up This Morning"
by Lightnin' Hopkins.
-(tense music playing)
-Crossroads.
There's something going on here,
isn't there? Something
-Some sort of story.
-Hmm. You're right, Ma'am.
We tell the story,
maybe we solve the case.
Yeah. And the story
It starts in the Deep South.
(train rumbles)
MUSIC: "Preacher Man"
by Randall Breneman.
# Preacher man's coming
Gotta get my soul clean
(indistinct chatter)
(man) There he is!
# Preacher man's coming
Gotta get my soul clean #
Ah, Professor, you came. Thank you.
Did you think that I'd back out?
Well, you'd be delighted to hear
I have devised a test.
(crowd muttering)
(Nicolas)
Penitentiary Hollerin' Blues.
Ah, yes. The original
production copy was damaged.
The middle eight
was accidentally cut,
so they they deemed it
unreleasable.
(Nicolas)
But Columbia have recovered
Robert Johnson's
own uncontaminated copy
owned by his family.
(Clarence) Yes.
I heard the rumours.
(chuckles) Well, sir,
I have obtained access.
So, if we reconvene at 1:00 p.m.,
you will for the first time hear
the missing middle eight
of Penitentiary Hollerin' Blues.
-Well, all right.
-(crowd chuckles)
But for my test, you will also hear
potential versions
of the same sequence
synthesised by my program.
Your challenge, should you wish
to accept it, is this
Can you discern the authentic
from the synthesised?
(crowd muttering, laughing)
Well, in the words
of the great philosopher,
-"Let's take it to the bridge"!
-(crowd laughing)
-James Brown?
-(crowd laughing)
-Of course. (chuckles)
-(crowd laughing)
This is a pattern, after all.
Or it's more a recurring theme.
Now, the bulk of his purchases
were made at or near crossroads.
-The Contract At The Crossroads.
-Hmm.
So, Robert Johnson,
according to legend,
sold his soul to the Earl of Hell.
-Earl of Hell?
-(Dodds) Now, look here.
Jinxy's highlighted
little Robert's map.
-Now, Ma'am, this map
-(tense music playing)
What if Jinxy,
on one of his trips to the States,
had, er, somehow laid his hands
on this map?
Last Tuesday night,
Jinxy was happy being happy
because he'd found the crossroads
that was gonna make him rich.
Twenty-four hours later, he's dead,
and someone's rifled
through his pockets.
Jinxy was killed
for Robert Johnson's map.
And where is it now?
And who's got it?
-(blues music playing)
-(keyboard clicking)
(computer pings)
-(mouse clicks)
-Yes?
Mr Olayinka, I'm Greg DeVere.
My sister, Geraldine.
May we come in?
I've been advised
by the US Consulate
not to say anything more
to you guys
-without a lawyer present.
-Professor
I first met Jinxy Jones
when we were both five years old
in reception class
at our old Lady of Fatima
Primary School.
Now, I think that
Jinxy somehow acquired Robert
Robert Johnson's missing map.
And I think
that is why he was killed.
(sighs)
Okay.
Maybe I I should've said
something earlier, but
when you guys showed up
with a a photo
of another dead guy, I panicked.
-Truth is I did meet Jinxy.
-(tense music playing)
In the glass factory?
I don't know anything
about a a glass factory.
He came to the festival.
He wanted to talk blues to me.
Got drunk.
I couldn't make out much
of what he was saying.
-Something was eating at him.
-Did he say what exactly?
Now, look, guys,
I have told you everything
that I know.
But as soon as this dumb bet
with our AI friend is over,
I'm gonna make tracks
out of here tonight.
So (clears throat)
it's been a pleasure.
(mobile phone chimes, clicks)
They think they've found
the gloved man from the bus.
Facial recognition
across social media came back
with ten matches to this guy,
with only one living in Bath.
Gordon Pendrey,
aged 39, resident in Bewley.
Oh, that's on the number six route.
-Yes. He's an ex-paratrooper.
-(Lauren) Trained killer?
Let's pick him up.
-(phone pings)
-Oh, oh, hang hang on a second.
His (sighs)
his military and medical files
have just come through, and
a sniper bullet went
through his left wrist
on a patrol in Sierra Leone
in 2012.
If you can't grip a rope tightly
with both hands,
you can't strangle Ian Andrews.
TIE him
and get a formal witness statement.
We rule him out. (sighs)
We're left with Clarence.
Yeah. Or the DeVeres.
Or or (exhales) all three.
Oh, Sarge.
Data on the bus company's
GPS system.
Exact times and locations
of the bus on Monday morning.
Okay.
The glass factory on Wednesday.
We know that Jinxy was there
with his map.
The Champagne bottle
places Clarence Adderly there.
And if he's alibiing the DeVeres,
that means that Greg DeVere
and Geraldine DeVere
were also there.
So, we have a victim,
a killer and two witnesses
who saw the murder
but didn't report it. Why not?
Oh, this isn't right.
This this diversion.
So, they had the traffic turn left
into Morrison Street
then onto Wellington Street.
But if they'd have turned right
towards Pultney Bridge,
they would've joined
the main trunk road
into Bath City Centre.
South West Water have no record
of a diversion on Monday.
-(door opening)
-Nor do the council.
DCI McDonald?
The ACC want a detailed update
on the inquiry. What do you need?
Well, I need to see
this bus driver again.
Okay. You go with him.
You have to take his statement.
He's not allowed.
Monday morning, around 8:15,
the bus was diverted
at Morrison Street into
into Wellington Street.
Why didn't they turn us down
to Pultney Bridge?
Well, that's what
we're trying to ascertain, sir.
So, you turned
into Wellington Street at 8:15,
missing out the Oswald Street stop,
arriving at Cadogan Square at 8:21.
Yeah, sounds right.
So
so, when you turned
into Wellington Street
did the automatic
internal lights come on?
No. They weren't working.
(tense music playing)
Been tampered with.
(train rumbling)
-(mobile phone chimes)
-Okay.
What've we got?
Well, first, there were no signs
of any recent roadworks anywhere.
-Okay.
-I've checked through
the traffic cam at Morrison Street,
and the bus was diverted
from its route there.
A diversion sign and traffic cones
were set out at 7:00 a.m.
The council then removed it all
at 11:45
due to a score
of public complaints.
They thought it was kids
or some kind of student prank,
but actually, it was this person.
And you see,
he or she keeps their face hidden
-from that camera.
-Right. Second?
The interior lights of the bus
were disabled at the depot.
So, at 8:15 a.m.,
the misdirected bus came this way.
(Dodds) As you can see,
under the bridge,
the upper deck
would've been plunged
into darkness.
So, the bus
would've been travelling
about (sighs)
five or ten miles an hour,
so, it would've taken
about 30 seconds
to emerge at the other end
of the tunnel.
Which is more
than a blink of an eye.
Which means that the killer
didn't have to be sitting
-directly behind the victim.
-No, Ma'am. No.
Thirty seconds is just enough time
for the killer to have gone
into the seat behind the victim
and applied enough pressure
on the larynx to murder Ian Andrews
and make it back
to his original seat.
Right, show me that again.
Could be bloody anyone. Any gender.
-It's the best view we have, Ma'am.
-Are you sure?
How many stops did that bus miss
because of the diversion?
Oh, that's just one, Ma'am. Er
We'd go So There. Er
Oswald Street, it would've been.
So, the driver
would've just come out
and taken a hard left
on Kingswood Road
and then left again back down
to rejoin the original route
at Cadogan Square.
So, there must've been more signs
put out to redirect the driver
back onto the original route.
Yes.
I'll start checking CCTV
between here and Cadogan Square.
(music conclude)
Okay, so it could've been anyone
who was upstairs
between Morrison Street
and Cadogan Square.
Between 8:15 and 8:21.
Which is when this guy got on,
before Clarence Adderly.
So, following the line,
who else was upstairs
between the diversion
and Cadogan Square?
Er, five passengers.
Well, six if you include this guy.
You had Kevin Buxton at the back,
Barry Oldham,
three or four rows ahead,
er, Hilary McLean on the right.
Hilary McLean?
-(tense music playing)
-Er. Hilary McLean.
Now, we know
that this man is not the killer.
How did he become a suspect
even in the first place?
-Hilary McLean told us
-Because Hilary McLean told us
that she saw him standing
for 20 to 30 seconds
behind the victim,
between Morrison Street
and Cadogan Square.
Saw him, Ma'am. Saw him.
-She must eat a lot of carrots.
-(exhales)
Right, deep background
on Hilary McLean.
She's just gone from witness
to suspect.
(Dodds) Ms McLean,
we have established
that this man could not have killed
Ian Andrews.
Okay. Well,
I hope you find who did.
But we have established
when he was killed.
Around 8:16 on Monday morning
between Morrison Street
and Cadogan Square,
which is when you said
you saw this man standing
behind Mr Andrews.
-Yes.
-(Dodds sighs)
Have you forgotten that the bus
was directed down Wellington Street
and under the bridge,
where it was plunged
into darkness for 30 seconds?
Almost total darkness.
Which means
that you could not have seen
this man standing
behind Mr Andrews.
Seems that you have lied to us.
Thirty seconds of darkness
would've been enough time
for you to cross the aisle
and kill Ian yourself.
What?
We've accessed
your employment history.
Five years ago,
you worked at the Ashton Branch
of OddsMatch Betting in Bristol.
Same place that Ian Andrews did.
(breathes heavily)
I I didn't kill Ian.
(Lauren) You're gonna have
to do better than that, Hilary.
(sighs) Ian was a hero, and
To me. And I always liked him.
But I watched what happened to him,
and he didn't like
all the attention.
You know, he was
he was a quiet, decent man.
Anyway, he left Bristol.
And I always wondered
what had happened to him
until a couple of years ago
when I came to Bath, and I saw him.
And I tried to reconnect
with him on the bus,
but he would just never talk to me.
But he knew who I was.
He'd just look through me,
you know,
like he didn't want to be reminded
of all of that.
You told me
that you didn't know Ian
and Mr Darcy were the same person.
Because I just wanted to help you.
And I was so, so sure
that that guy killed him.
(sighs)
-I don't know what to do about her.
-(sighs)
She's just a bit of a poor soul.
Yeah, who's wasted a shedload
of our time.
And we can't rule her out
completely,
or Clarence
or anyone on that bloody bus.
-(sighs)
-(Lee) Ma'am.
-(Lauren) Yeah?
-You called it right.
-(tense music playing)
-The last diversion sign,
he didn't realise
there was a camera there,
and he took off his mask.
Never mind who was on that bus.
This nails us a double killer.
(Nicolas) Now, sir,
I shall play you three tracks.
One of them is the genuine
Robert Johnson missing bridge.
Please listen carefully
to each version,
and then make your call.
-I'm listening.
-(audience laughing)
Version one.
(blues music playing)
(Robert) # Ooh, ooh-hoo
# Ooh, ooh-hoo #
(Clarence) Next.
-(keyboard clicks)
-(music stops)
Er. Professor, I really think
you should listen a little longer
-before you
-I'm good.
(blues music playing)
-Next.
-(crowd murmuring)
-(keyboard clicks)
-(music stops)
Version three.
-(keyboard clicks)
-(blues music playing)
-(keyboard clicks)
-(music stops)
So, Professor?
Version three is Robert Johnson.
-(dramatic music playing)
-You're
-you're right.
-(crowd cheering, applauding)
-Straight outta Compton.
-(crowd laughing)
-Compton Dando. (chuckles)
-(crowd laughing, applauding)
(Nicolas) Professor?
How'd you do it? I'm confused.
(chuckles)
Your accomplice
performed well enough.
(smacks lips) The, erm,
signature harmonic distortion
of the RCA 44B microphone,
A-minus.
The sonic artefacts
on the acetate disc, straight-A.
The hallmark open G tuning
and the microtonal melisma, B-plus.
But it isn't about what is there.
It's about what isn't there.
And your robot missed the train.
I'm sorry?
Little Robert recorded
Penitentiary Hollerin' Blues
close to the Mississippi
and Western Railroad.
And if you listen hard enough
to the first section,
you will hear a train passing.
Now, the bridge on track three
has the train.
Track one and two,
no train over the bridge.
Now, what is this about?
What is this?
-I know you.
-(dramatic music playing)
You failed me.
My PhD?
The Impossibility Of History?
(chuckles)
The Impossibility Of History.
Well, you deserved to fail.
It was a substandard piece of work.
No. It was good, and you know it.
But thank you, Professor.
You set me on a path
to my true vocation.
You didn't deploy
some sensitive ear,
attuned to the authentic.
All you did was what any machine
could have done, detective work.
Detective work,
as in finding evidence,
is kinda what history is.
Yes, but if it wasn't
for the train,
could you have told the difference
between authentic
and the synthesised?
That, my friend,
-you will never know.
-(Greg) Professor.
-We're ready to sell.
-To the highest bidder.
What do you mean the highest
I'm the only bidder.
What do you mean, "highest bidder"?
Ah. There's more
than one person interested.
When and where?
-Tech support happy?
-(Lee) Yes, Ma'am.
Good. Suspect surveillance?
-All covered.
-(dramatic music playing)
And they're all heading
to DeVere's.
What happened at the glass factory
last Wednesday
is gonna happen again
with all the same party present.
And our options
are one killer, two victims
or two killers, two victims.
Or a joint enterprise
with more than two killers.
And there's no evidence linking
the killer with either victim?
No, Ma'am.
And you're sure you've got enough
to leverage a confession?
If everything goes to plan, Ma'am.
Okay. Now or never.
Lot one of one, gentlemen.
A map of the Mississippi Delta.
Signed, dated and verified
by one Robert Johnson.
Little Robert's 40 days
and 40 nights in the Delta.
Everywhere he went. And, lo
The unholy of unholies.
The precise location
of the contract at the crossroads.
(Geraldine) More beautiful,
more detailed
than all your young man's dreams.
(Greg) Decades of scholars
fashioning little Robert
as a legend in their own image.
(Geraldine) This map confirms
the moment
that the stones started rolling,
when mankind drew breath
before a shout of defiance
that would shake the world.
(Greg) Look upon it
and hear the jubilating preachers
and railroad whistles.
Smell the backwards dukes,
the homemade corn liquor,
the fried catfish.
It's worth more than money,
Clarence.
(Geraldine) The true crossroads
in cold, hard numbers.
(Greg) The time and the place
of the birth of the blues.
April, 1932.
Thirty three degrees north,
91 degrees west.
Years and years,
I've trudged those places.
Twenty years.
Nicolas, come on.
Let's not do this, man.
This is heritage.
-Can we get on with it, please?
-Banking apps at the ready, please.
Shall we open the auction
at 300,000 dollars?
Three-fifty.
(indistinct radio chatter)
-(Clarence) Five-fifty.
-(Nicolas) Five-seventy-five.
(Clarence) Five hundred and eighty.
(Nicolas) Six hundred.
-Six hundred and ten.
-Six hundred and twenty.
Six hundred and thirty.
-Six hundred and forty.
-(keypad clicking)
-(keypad clicking)
-Six hundred and sixty.
That's 660 with you, Mr Olayinka.
-Six sixty, going once.
-Just one second. One second.
Six hundred and sixty, going twice.
(mobile phone chimes)
(Nicolas) I have secured the funds
from my father.
-Six-six-six.
-(chuckles)
(exhales)
(Greg) Six-six-six. Going once.
Going twice.
-Gone to Mr Olayinka.
-(chuckles)
(Greg) Six hundred
and sixty six thousand dollars.
I've emailed you the certificate
of provenance.
-We're ready to receive the funds.
-With pleasure.
-Why? Why are you doing this?
-(door opening)
Okay, the three of you
are under arrest
on a menu of charges
from perverting the course
of justice to double murders.
Our story begins
in the Mississippi Delta in 1932,
-when little Robert Johnson
-Jinxy got hold
of the map last year,
brought it back to Bath
and wanted to sell it. Then what?
One of you three killed Jinxy,
the other two saw it
and didn't report it.
So, whether you're a witness
or a killer,
it's about length of sentence now.
-I suggest you talk.
-Excuse me, I should go.
Jinxy came to you with the map.
Then what?
Erm. So, I ran a check
on the provenance,
and it came back genuine.
So why not put it up
to public auction, legitimately?
Ah. You told Jinxy
that it was a fake.
I offered him 500 pounds.
He said no.
(Geraldine)
He didn't seem to trust us.
No!
-Sarge, you on this?
-Er, oh, yeah. Er Erm
Er. But then you were told
that Professor Adderly
was coming into town
with his influence,
his money and his passion for that.
(Geraldine) Look (clears throat)
we didn't tell Jinxy
that the map was real,
but we did go back to him
and proposed that we sell the map
to the professor
and then split the profits.
So, you arranged the sale
last Wednesday
-at the glass factory.
-Jinxy was dead when we got there.
Come on, Clarence.
And then you just happen
to be on the number six bus
when Ian Andrews, who witnessed
the killing of Jinxy
It was them.
It must have been them.
They must have killed Jinxy
before we got there.
And then she sent me a text.
"We've got the map.
We want to sell.
Meet me on the bus".
What? No, I didn't.
She told me what time,
"8:15, Morrison Street.
Sit upstairs. Second row
from the front on the left".
I think he killed Jinxy
before we got to the glass factory.
You're a big man.
Strong enough
to punch Jinxy's lights out.
Strong enough
to throttle Ian Andrews.
And we can place you
at both crime scenes.
No, come on.
Clarence Adderly,
I'm placing you under arrest
on the suspicion of the murder
-of Ian Andrews and
-No, stop, stop, stop!
-You can't arrest him, Ma'am.
-I bloody well can, Sarge.
Ian Andrews was murdered
in the 30 seconds that it took
for the bus to pass
under the bridge
-at Wellington Street.
-So what?
This is before the professor
boarded the bus at Cadogan Square.
The professor's innocent.
-You're wrong, he's innocent!
-No.
No?
Mr Olayinka?
Well, I mean,
if he was at both crime scenes,
on the bus
and at the glass factory,
then he can't be
How do you know the professor
was at the glass factory?
Because you said.
You said that you found his prints
on the Champagne bottle.
But, sir, DCI McDonald never said
that the prints came
from the Champagne bottle.
An hour ago,
we obtained a warrant
to enter and
search your lovely,
little short-let flat
down there in Bathwick.
And our, er, tech people,
and, oh, you know,
they're very good
They discovered
that, for the last two weeks,
you've been monitoring
the professor's emails
and telephone calls.
-What?
-(Dodds) They also found
that you had intercepted
the arrangements
for the meeting
at the glass factory.
And so, you contacted Jinxy.
You told him to be there
15 minutes early.
And there you were,
waiting for him.
You wanted that map.
You wanted it
before the professor could buy it.
But Jinxy
(chuckles) he wasn't
gonna accept your offer.
It was you
who Jinxy provoked.
Come on, mate,
I'm offering you ten grand.
(Alan chuckles) Ten grand, son?
What else you got?
(Nicolas) Ten grand.
(Jinxy) You gotta do better
than that.
(Nicolas) What do you mean?
Don't push me
What are you saying?
"People like me." What do you mean?
-I said don't push me.
-(Jinxy grunts)
It was you. You punched him.
-Fatally.
-He was dead when I got there.
Oh. We'll see about that.
(breathes deeply)
Because Jinxy, of course,
he wasn't carrying that map,
was he?
But you still had
the presence of mind
to confuse the crime scene
before the DeVeres
and the professor showed up.
(door opening, creaking)
(Dodds) So, you waited,
and you watched.
And that's when you saw
the Champagne bottle smash.
But then the professor
and the DeVeres,
they decided not to report
Jinxy's murder.
-He's dead. I'm calling the police.
-The police? Are you mad?
(Dodds) Because, well, Mr DeVere,
he still had the map to sell,
and the professor wanted to buy it.
So, to report the existence
of the murder
would have meant
to report the existence
of the map to the police.
-What are you doing?
-I'm protecting you.
No. No.
I want nothing to do
with you people.
(Lauren) You knew the sale
-of the map was still on.
-(door shutting)
(Lauren)
And you wanted to snatch it
from under Clarence's nose.
But then things got worse
for you.
I I want money.
(Lauren)
Ian Andrews saw everything,
and he blackmailed you.
Ian Andrews? Who's that?
So, to keep Ian Andrews
at arm's length
you gave him the 20,000 dollars,
which, combined
with the ticket stub
from the Festival of Ideas,
led us here
to suspect the professor
which gave you time
to observe Mr Andrews's routine
and plot his murder.
You're speculating.
At 6:23, last Monday morning,
you disabled the interior lights
on the number six bus.
You then set up a diversion
on Morrison Street.
Your last diversion sign
at Cadogan Square,
you made a mistake.
You didn't notice the CCTV cameras.
You then deployed your expertise
with WhatsApp messages
to set up a meeting on the bus
between Ms DeVere
and the professor.
So
sometime before 8:15
on Monday morning,
you boarded the number six bus.
(dramatic music playing)
(Dodds) When it turned
into Wellington Street
and was plunged
into darkness, you struck.
-(garrotte tightens)
-(chokes)
We have an eyewitness
that places you on the bus.
I was on the bus.
But did your eyewitness
see me in the dark?
Then you alighted the bus.
And then you, Professor,
as instructed
by your fake text message,
sat behind
the already-strangled victim.
With your blackmailer,
Ian Andrews, dead
and the professor framed
for his murder
-you went after this map.
-He approached us.
Told us he was a wealthy collector
of blues memorabilia,
and did we have any pieces
in our collection of interest?
And then you came up with the idea
of this auction, didn't you?
To pit the professor
against Mr Olayinka
-to bid up the price.
-So, here we all are,
from Mississippi Delta
to Bath, England.
(scoffs) You did all this
because I failed you?
(scoffs)
You really need help
because you're not right.
-No, I was right, and you know it.
-No, you're wrong.
You're wrong in every respect
because you're still just a boy!
A boy who just never understood
the word "no".
And you're a complacent fool
who sells manufactured authenticity
to White people.
Oh, you you really need
to grow up.
I grew up No, I I
I was dragged up
on a council estate.
We had nothing.
You?
You're just a a posh boy.
Yeah, I I see it in your manner.
I can hear it in your voice.
I hear the English public school.
I can hear the entitlement,
the privilege.
Just another posh boy
who thinks it's all just a game.
Well, son
the world is not yours.
Jinxy. He hated the posh boys.
It starts with a failure,
turns into a thirst for revenge.
And you hit the professor
where it hurts.
His belief in blues music,
and and Robert Johnson
and its authenticity.
Ramp up the pressure on Clarence.
And then he wants
what Clarence wants the most.
That. And when Jinxy
doesn't give it to him,
he sinks into a pit of festering,
obsessive, crazy, weird hatred,
all because you didn't get
a gold star.
(chuckles)
Because I killed Jinxy.
I killed a man
because of him.
It's all your fault.
I killed Jinxy because of you.
And I killed
I need to hear you say it, Nicolas.
And I killed Ian Andrews too.
-(bell tolls)
-(brass music playing)
Nice turn out, eh?
Well, erm,
we never stopped liking Jinxy.
(sighs)
You know, Ma'am, I've
I've only ever been drunk
three times.
At the school dance,
I was (blows raspberries)
so nervous of girls.
And at
my old auntie's funeral, er
And then
-Easter Monday?
-(sighs)
Jinxy was just going on at me
about how pointless everything was.
My life and his life,
everyone's life.
I told him, out of all the people
that's ever lived and and died
in the history of humanity,
17 billion,
'cause I I checked
Yeah, I bet you did.
that there's only 300 million
who've ever got lucky.
Properly lucky.
And, Ma'am, if you were a White man
and born at the same time and place
as me and Jinxy,
you would've had more advantages
than any of the 17 billion.
And Jinxy was one
of the 300 million.
And I I told him, I said,
"Just (breathes deeply)
stop being so bloody
bloody miserable.
(exhales) You, Jinxy Jones
you're one of the luckiest
of the lucky".
-(sighs)
-(thunder rumbling)
So then he wanted to sell the map
for loads of money.
(exhales)
And I It never settled right
with me, what I said to him.
Nice music, though, innit?
(thunder rumbling)
# There is a house in New Orleans
(choir) # In New Orleans
# They call the Rising Sun
(choir) # Rising Sun
(singer) # It's been the ruin
-# Of many a poor girl
-(choir) # Of many a poor girl
# And me, I know I'm one
# I'm going back to New Orleans
(choir) # To New Orleans
# My race is almost run
(choir) # Almost run
(singer)
# I'm going back to New Orleans
# Beneath the rising sun
# There is a house in New Orleans
-(thunder rumbling)
-(dramatic music playing)
(singer)
# They call the Rising Sun #
(music concludes)