1:59

George, I'm not planning a sequel. And

2:03

JJ, do you really think I'm guilty of anything

2:05

other than writing a bad book? I

2:07

assume my ex-wife gave you that copy. Yeah,

2:10

bet you sent me to talk to her this morning. Did

2:12

she now? And why is that? To

2:15

confirm a few things I already suspected. How

2:17

nice. Exes are such a reliable

2:19

source of unbiased information. She

2:21

was at the Clayton concert with her husband that night. Did

2:24

you know that? No, but I'm not surprised.

2:26

They're big fans. Someone cut their brakes

2:28

in the car park. They almost went into a tree

2:30

on the way home. Really? Oh dear. Does

2:33

she think I had something to do with it? No. She

2:35

doesn't seem to think you'll like that. Mmm. I

2:38

imagine it was just wear and tear. I said

2:40

to Jen, she needs to properly maintain that

2:42

car, but does she listen to-

2:43

She seemed nice, Jen. She feels guilty about

2:46

leaving you. But when you sunk all

2:48

your savings into that book, she just couldn't

2:50

take it anymore.

2:51

Not just a cheat, but a martyr

2:53

too. She said you spiralled

2:54

into darkness after you quit the force.

2:56

Oh, the die-hard detective forced

2:58

out of his job by police corruption. She

3:01

told me you wouldn't accept the bribe and that you had

3:03

to quit. That you wouldn't be compromised. So

3:05

now you're accusing me of integrity?

3:08

Guilty as charged. No, that's

3:10

not what I'm saying. You're quiet, Betty. Lost

3:12

control of this little game you're playing, have you? Did

3:15

you know your sister was going to take over like this? Look,

3:17

if J.J. wants to see her piece, then- Then you'll

3:19

step aside and allow her to steal your thunder.

3:22

It's not about that. It's about justice. Sure.

3:25

Are we finished here or- Fennec killed Clayton.

3:27

There. I'm

3:31

pretty sure that's what Betty was going to say. That's

3:33

what it's all pointing towards. Here.

3:37

What do you have to say for yourself?

3:43

Oh dear, oh dear. Fennec

3:46

killed Clay.

3:47

That was not on my bingo card.

3:49

Me neither. Seems unlikely,

3:51

honey. Have to say. Well, it's true.

3:53

Isn't it, Betty? J.J.,

3:55

I- I really think you might

3:57

be barking up the wrong tree here. Thank you,

3:59

George.

3:59

My dear girl, do you really think Fennec

4:02

would insist Clayton was murdered if he

4:04

was the one who'd done it? I was just about to say that,

4:06

George. Detective Fennec has relentlessly

4:08

pursued justice since this nightmare began. It's

4:10

who I am. Do you remember what you

4:12

said to me mere hours after Clay's fall from the main

4:15

train? You said this wasn't an

4:17

accident, George. This was murder. This

4:20

fine man volunteered his time and resources

4:22

to bring light unto darkness, and this

4:24

is how we repay him? Thank you, mate. Not to

4:27

know someone appreciated it. Of course he said it

4:29

was murder. He didn't want it ruled an accident

4:31

because he's framing me. So you really

4:33

believe that this guy killed my husband

4:36

just to put you in prison? Honey,

4:38

that sounds super narcissistic.

4:40

It does, doesn't it? But

4:42

it's true. No offense, love, but

4:44

I barely know you. Would I murder

4:47

a country and western superstar just to

4:49

frame someone I'd exchange less than 40 words

4:51

with? Well,

4:52

that's a good point. Yes!

4:54

Yes, you would, I think. This

4:57

is stupid. It's beneath all of us. I'm

4:59

going. Christine, sit down.

5:02

You're right. This

5:04

isn't about JJ.

5:06

It's about all of us who were there

5:08

in that room with Fennec

5:10

seven years ago.

5:12

Doesn't make sense, does it? Any

5:15

idea? No. No, don't I? I

5:17

don't know. If only they'd

5:19

explain. You, me,

5:22

Parker, Margot,

5:24

Jenkins. Is he really?

5:26

I suppose it is, Lady Magdalene.

5:29

I suppose it is. Fennec

5:32

thinks we ruined his life. No,

5:35

Armstrong. I

5:37

think you ruin lives.

5:41

My goodness.

5:42

May I ask why you would say such a thing? How

5:45

familiar are you with what happened here in 89, George?

5:49

Vaguely. It was my very last

5:51

case before I quit. I

5:53

interviewed everyone involved and it was immediately

5:56

obvious that something wasn't adding

5:58

up. There is still... He had been agreed

6:01

upon. You

6:03

should have seen him. Chintzy

6:05

room in the manor house. Everyone

6:07

sipping tea and lying to my face.

6:10

All of them. Hiding something.

6:14

So that is why you took the concert job. Because

6:16

we lied to you in 89. Fuck. Shut up.

6:19

I mean, you think we lied to you, but

6:21

we didn't, obviously. You're not even very good

6:23

at it. I suppose you don't have to be good

6:26

at lying, do you? Not with the kind of protection

6:28

you lot enjoy. Protection? What do you mean, protection? I

6:31

wasn't just going to accept your ludicrous

6:33

story, of course. I couldn't

6:36

wait to start digging. To

6:38

see how it all connected. You

6:41

see, over the years, I'd heard whispers

6:43

about mockery. Money laundering.

6:46

Smuckling. And I could not,

6:48

for the life of me, understand why no one had

6:50

ever opened a proper investigation. Of

6:53

course, I soon found out why. Jenkins

6:57

got to you.

6:59

It was Jenkins who tried to bribe you. It was indeed your Mr.

7:01

Jenkins. And

7:04

goodness me, he did not waste

7:06

any time. Now,

7:15

very interesting. Perhaps

7:17

you would like to come to the station, Mr. Jenkins,

7:19

so we can

7:21

talk further. Anything

7:23

I can do to help. What about the rest

7:25

of us? Oh, stay here. Have

7:27

a cup of tea, have a biscuit, but... Hold

7:31

off on the interrailing for a while, eh? All

7:33

right. This way, sir.

7:36

I know the way out, thank you. I'll give you.

7:47

Goodness,

7:55

what a beautiful day it is. Despite

7:57

all this unpleasantness.

7:59

The park will reopen soon enough. Once

8:03

more, the roar of the roller coaster,

8:05

the laughter of children, and

8:08

new beginnings. I wouldn't be too

8:10

excited to start the next chapter, Mr.

8:12

Jenkins. Ha! Dear me, no room

8:14

for whimsy around the great detective,

8:17

I see. I expect nothing less from

8:19

you, Fennec. I've heard all about you

8:21

and your funny little ways. Should

8:23

we take the Bentley? What funny little ways? Of

8:25

course the most startling aspect is how spotless

8:28

you are. Even after how many

8:30

years on the force? Very unusual.

8:32

Is it? I think you know it is. I

8:36

think you know just how flexible your colleagues

8:38

can be. How is Reggie? Her

8:40

bloody hell is Reggie. Reggie! Reginald

8:43

Stubbings! Your boss! We shoot

8:45

together sometimes. His wife makes an astonishing

8:47

rabbit blancmange. Have you ever tried it? No, I

8:50

have not. What exactly is this, Mr. Jenkins?

8:52

Ha! Ha! It's

8:55

the very first time you're going to look the other way. What?

8:58

So, hear me out. Because

9:00

you have no choice in the matter, I'm afraid. And Reggie

9:03

will back me up on this, and his boss too,

9:05

if need be. And of

9:07

course if you don't accept the rather generous

9:10

recompense for services rendered, if

9:13

you try to cause problems for me and mine...

9:15

Well... There

9:18

will be consequences.

9:19

No,

9:22

then. Let's

9:24

talk terms. I

9:28

had to quit.

9:30

It was either that or become a patsy.

9:32

A slave to forces I could not control. No, thank you. And

9:36

even though I quit, someone from mockery still

9:38

paid me a visit. They came in

9:40

the night. Left a fat wodge of cash

9:42

in the pocket of my trench coat.

9:46

Which, at the time, was hanging on a chair in the bedroom.

9:50

Inches from where me and my wife lay asleep. Message

9:53

received.

13:59

Someone's been in my room, I

14:01

do. And I don't want you going back there. You're

14:03

sleeping in my room tonight. Okay. Oh,

14:06

you've said that in front of Fennec. You were

14:08

telling him the coast would be clear.

14:10

I wasn't sure that Fennec would take the bait,

14:13

but I thought it was worth a try.

14:15

I snuck into JJ's room

14:17

and balanced a bucket of water, tonic water

14:19

on JJ's door frame. Oh, thought this better

14:22

work. Whoever was next to enter

14:24

would be soaked. Classic prank.

14:27

You can't deny it, Fennec. All right, Macaulay

14:29

Culkin, what is this? Home alone? You

14:32

did

14:32

say I learned everything I knew from TV.

14:34

Did you put something in my room, Fennec? What

14:36

did you put in my room? If you think a glowing

14:38

trench coat is adequate proof, and

14:40

why would I even need to plant evidence? It's

14:42

enough already to convict us. Are you sure about

14:45

that? Yesterday your frustration was

14:47

clear as day to anyone watching closely,

14:49

that is. JJ had been released

14:51

by the police and the case had been further

14:53

clouded by Bobby's poisoning. After

14:55

everything you'd done, you still

14:57

couldn't be sure that JJ would go down for Clay's

15:00

murder. Put something in my room, Bay. Did you miss

15:02

that part? It's all right, JJ. I left Abilene

15:04

at the manor to explain a few things to the police.

15:07

I believe they received an anonymous tip

15:09

off this morning that empty adrenaline vials

15:12

and a letter to Clay could be found in your

15:14

room.

15:15

How'd you know this? Because I found and

15:17

removed them this morning.

15:20

Ganturing with evidence, oh dear.

15:22

And do you really think now listening to Abilene?

15:25

It was all supposed to be so simple, wasn't

15:27

it, Fennec?

15:28

You knew that when the lights came on, JJ would

15:30

spot the body and run towards it.

15:32

You've relied on her goodness, didn't you? On

15:35

her bravery in moments of high stress. Rick,

15:37

the security guard, signed her branch over

15:40

the victim. Later the police would discover

15:42

that JJ had been sending crazy

15:44

letters to Clay for months. Meanwhile,

15:46

you'd have a cast iron

15:48

alibi courtesy of Abilene. But

15:51

it didn't work out like that.

15:52

That was frustrating for you. JJ

15:55

ran off before Clay was attacked. Rick, the

15:57

security guard, barely glimpsed her as she left.

16:00

and then failed to tell the police

16:02

what he'd seen. Clay staggered up

16:04

the mind train mountain and died miles

16:06

away from the murder weapon. The police didn't

16:08

even find the syringe. You had to guide

16:10

me towards it. And then I

16:12

stepped on it. Oh, fingerprints

16:14

are raised. And finally, the

16:17

same corrupt coppers who helped ruin

16:19

your life were pushing the narrative that the whole

16:21

thing was an accident. Oh dear.

16:24

So you had to improvise. You

16:26

set up the cottage and influenced someone

16:29

in

16:29

Walter's tour group to explore it.

16:31

I heard the keys under the doormat.

16:33

Really? Also, I heard something weird

16:36

happens in one of the rooms upstairs.

16:37

Rachel's slaughter at Woodford animal.

16:40

Oh.

16:41

And then you planted further evidence in

16:43

JJ's room. Empty adrenaline

16:45

vials, which might even have been

16:48

covered in JJ's prints, seeing

16:50

as she and Parker teach staff members how

16:52

to administer them. Wait, if my prints

16:54

are on them, would we both get done for it? Maybe.

16:57

JJ and Parker in cahoots. Oh

16:59

no, don't know that. Have I covered everything? Oh

17:02

wait, no, not quite.

17:03

The letters to

17:04

Clay from JJ. How did you

17:06

know what her handwriting looked like, Fennec?

17:09

You copied it straight from JJ's diary,

17:11

which was taken into evidence seven years ago

17:13

by you. Or maybe she

17:15

reverts to childish scrolls when seized

17:18

with emotion, such as when she's penning twisted

17:20

letters to the object of her desire.

17:22

And finally, the timing. The

17:25

final puzzle piece supplied

17:27

by Abilene herself.

17:30

Couldn't help but notice that the clock in

17:32

the shotgun wedding chapel

17:33

is 20 minutes

17:35

late,

17:37

which made me think, how

17:40

quickly could you have got Abilene back to

17:42

her hotel room? Let's

17:44

see.

17:47

Five minute jog to the chapel. Faster,

17:49

Abilene. Clay is waiting. I'm

17:51

coming. Five minutes in the chapel.

17:54

No taxi? No worries, I'll take

17:56

you. Come on. Six or seven minutes jog to

17:58

the car. 80 miles.

17:59

hour to the hotel. We're

18:02

gonna die. We're gonna die. What?

18:06

Hotel? Get out!

18:08

Okay, okay. 90

18:11

miles an hour back.

18:12

Back at the Claytonville Car Park by 9pm. He

18:15

takes a crackle suit, the syringe and leather

18:17

gloves out of his car boot. Ten

18:20

minute casual stroll to the mine train staff entry. Wait

18:24

for the lights to go out.

18:25

Time

18:30

to sit.

18:32

A sports clay off the stage. Hello

18:35

Mr Woodruff. Ah, God dammit. John Fenwick,

18:37

head of security, not a giant cat. Excuse

18:40

the costume. Long story. What

18:43

the hell's going on? What happened to the power? I've

18:45

got a flashlight. If you'll just follow

18:47

me. Alright, alright. Man,

18:49

that was scary as hell. I

18:52

thought I was about to lose my breath. Inject

18:54

him with adrenaline. Push him onto the tracks.

18:58

And leave without being

18:59

seen. By the time the lights were programmed to turn back on again,

19:02

you were jogging back to your car.

19:04

Well you've done the suit. You

19:06

turned your park walkie talkie back on at 9.45pm. Just

19:09

go back from dropping Abilene's WV and I hope

19:11

so. Sorry that took so long.

19:15

Any news fellas? Fenwick, Clayton's

19:17

dead.

19:17

Oh no. He fell off the ride.

19:19

The police have been called. Well,

19:22

what

19:22

do you mean he fell? We need you back here Fenwick.

19:25

Yes, I'm coming. I'm coming, I'm coming. You

19:27

jog back

19:27

into the park and arrive at the scene at

19:29

9.55pm.

19:30

Just before the police and

19:33

Abilene's there. How did this happen?

19:35

What's he doing outside the ride? He was supposed to...

19:38

How did

19:39

he feel?

19:45

This... this can't be true.

19:49

Detective Fenwick, tell me this isn't true. It's

19:51

not true. You're still denying

19:53

it. Of course I am.

19:55

You don't have any proof. And

19:57

have you met the cobbers assigned to this case?

19:59

Are they likely to pay attention to your convoluted

20:02

explanation?

20:04

Or the simple one? That

20:06

JJ Armstrong became dangerously

20:08

fixated on an international superstar.

20:11

We already know she has a penchant

20:13

for older men. Both Graham and

20:15

Clay had excellent singing voices. Shut

20:18

up! Maybe Clay reminded JJ

20:20

of her murdered lover and it warped

20:22

her tiny mind. Shut up, shut up! And

20:24

of course, JJ Armstrong knows

20:26

the part like the back of her hand. How

20:29

do you? The head of security! And

20:31

we have a witness putting JJ

20:33

Armstrong in the mind train when the

20:35

lights went out.

20:36

Means, motive, opportunity,

20:40

evidence.

20:41

As opposed to what? A glowing

20:44

trenchcoat. You've

20:46

got nothing. Nothing! You

20:50

know what? I'm gonna go to the manor house right

20:52

now to tell the police you removed incriminating

20:55

evidence from the All Sisters Room and

20:57

that you admitted to it in front of all

21:00

these people. Oh,

21:03

well done Armstrong.

21:05

You better not beat it.

21:23

Did we get him? Hey.

21:26

He wasn't right, was he? There's

21:27

enough evidence to prove he did it and not

21:30

JJ.

21:31

Isn't that? I...

21:34

I don't think there is.

21:37

That is very bad. Oh, shit.

21:40

I can't believe it. He really did it.

21:42

I can't believe it. That's none of the things. JJ's

21:44

in trouble.

21:45

What did we do? What did we do? You

21:47

didn't even think he did it. I do now. Bet

21:49

he'd tell me that was part of the plan. Him figuring it

21:51

out and walking off, that was part of the plan, yeah? But

21:53

there's more to it than me. You're

21:56

gonna get me. No, no, no, please.

22:01

We've got to protect ourselves. JJ. We've

22:04

got to fix your own. JJ, are you alright? Speak to

22:06

me. JJ! I'm

22:08

so sorry. I think

22:10

I might have screwed up. I thought

22:12

he'd confess what they showed

22:14

to. I knew everything. It's

22:16

alright, baby. I've got this. What? What

22:19

do you mean? I know what to do. JJ? JJ,

22:22

what's that? I'm sorry.

22:23

I'm sorry.

22:25

I'm sorry. I'm sorry. I'm

22:27

sorry. I'm sorry. Oh

22:30

my God. Oh shit. Holy shit! She's

22:33

got a gun! That's Jenkins gun. JJ, what are you

22:35

doing? We're Jenkins gun! No. What

22:37

are you doing? JJ? JJ, come

22:40

back! No no no. JJ, don't do

22:42

this! JJ, don't do this! I know. No

22:54

one calls in mind your

23:02

own.

23:04

The train to Mokkari Manor is

23:07

about to depart. Shoot

23:11

you. My name's Kerry. I will be your train driver for

23:13

today. There he is. Finish.

23:16

Wait!

23:17

Stop! Excuse me. Terry?

23:20

It's JJ, manager. Oh hello, Ms Armstrong. Is

23:22

everything alright? Not the train. You can't

23:25

leave. Oh, is there a problem? Open the doors,

23:27

let the get out.

23:27

Really? Except for that man in the front carriage.

23:29

The one in the trench coat. He has to stay. Er, okay. Erm,

23:32

who is he?

23:33

Just do it, Terry. Okay everyone, train is cancelled first. The driver

23:35

will let you out. Er, I'm sorry about this, boss. I'm afraid you're

23:37

going to believe the train.

23:38

Erm. There you go, guys. Off

23:41

you go. Thank you very much. Everyone out.

23:43

Thank you very much. This is the way it all is. Thank

23:45

you. Get off the train. Where's the

23:48

driver? Why are we moving? Okay,

23:50

Terry. I'm sorry. I'm sorry. I'm

23:52

sorry. I'm sorry. I'm

23:55

sorry. I'm sorry.

23:55

I'm sorry. I'm

23:58

sorry. I'm sorry. I'm sorry.

23:59

gonna happen you're gonna put the rope up and

24:02

leave the station don't come back for

24:04

a while okay okay

24:06

okay go on

24:12

they've

24:15

outside the train carriage fennec that

24:25

a pistol JJ

24:27

well on them and

24:30

what are you planning to do with it what do you

24:32

think

24:33

sure it works looks

24:35

old Jenkins kept it well oiled

24:38

come on move away from the train you're

24:42

not gonna shoot

24:44

me for all daylight middle of the theme

24:52

park I'm taking control JJ you

24:54

don't want to do this I never wanted any of it

24:56

but I was never the one who got to choose

24:59

always someone else may Hilda

25:01

Jenkins

25:02

no I choose

25:05

this

25:05

time and if I'm going to

25:07

prison for murder it's better if I'm guilty

25:09

she missed oh thank

25:12

god she missed drop the gun

25:14

JJ I'm coming

25:16

closer no back off baby

25:18

stop in the beer stop

25:20

it there's gonna be an accident it'll go

25:23

off what the gun I'm

25:29

not going to let you ruin your life

25:42

I can't let him get away what

25:45

are you doing right come

25:47

back

25:47

okay

25:49

she's on the train spinning we

25:52

can catch it come on

25:59

I mean,

26:03

I'm gonna be at the front of

26:05

the train.

26:14

Come

26:16

on. Oh, Jesus Christ, I'm gonna be on the porch

26:19

and it's not gonna get me out. We're

26:27

so

26:28

near

26:32

to the end of the horse bed.

26:34

There she is. JJ! Hi

26:37

there. I'm gonna get you some of my food. Shame! Come

26:40

out! Come out!

26:41

You can't hide from me, buddy! I think we all need to get your

26:43

breath! And Margaret, why don't you suggest something? Let's just go and have a nice cup

26:45

of tea. She was everything, didn't it? No! To

26:48

pull it! It's not what you say! No!

26:50

Oh my God! JJ, are you crazy?

26:52

Christ, you bloody sister! Oh my God!

26:54

Margaret, are you alright? Yeah, fine. Did

26:56

it hit you? No, no, no. Open!

26:59

JJ! No! Margaret!

27:02

JJ, leave it! Open! Oh God!

27:05

Fennec, step away from

27:07

the controls. Slowly.

27:09

JJ, this isn't gonna end well. Think

27:11

about what you're doing! She won't solve anything! You're better

27:14

than this, mate. Am I? I

27:17

don't think you've properly fought this through, JJ. If

27:19

you shoot me, everyone will find out I'd

27:22

rumpled you. It'll blow your operation wider.

27:24

Operation? There is no operation! We're

27:27

not a crime family! She's right, Fennec.

27:29

You've got it all wrong. What were you all doing in Germany

27:31

in 92 then? Yeah, I

27:34

know all about that. You were taking down a

27:36

rival gang. That's not

27:37

how it was. That was Jenkins! Not

27:39

us! There's no point reasoning with them, mate.

27:41

They'll keep coming for us, no matter

27:43

what we say. Whoa, whoa, easy

27:46

now. JJ, please love. Don't do

27:48

this. Don't let Fennec make you

27:50

the bad guy, JJ. He's the bad guy. Me? Me?

27:54

I'm trying to solve murders! I'm fighting

27:56

organized crime! I've put myself

27:58

through hell doing this!

27:59

the right king! Come

28:02

on! You can't be serious!

28:03

You murdered Clayton Woodrow!

28:05

Collateral damage for the greater

28:07

good! He was just like the office, so

28:10

casual about who they hurt! There was nothing

28:12

casual about it! Months of planning,

28:15

a hard graft! To kill

28:17

an innocent man! He wasn't innocent!

28:19

He'd seated on two of his wives, and

28:22

he had the gall to sing about it like he

28:24

was the one who got hurt! Clay wasn't perfect,

28:26

but who in? Must have

28:27

one of my ex loved him so much, listened

28:29

to all that hokey dog shit, sued their

28:31

own conscience, and what about all those kids

28:33

he wouldn't play child support for? And him!

28:36

A millionaire! But that was Bobby's

28:38

doing! Clay was a victim! Yes, but

28:40

I didn't know that, did I?

28:42

Do I detect a touch of remorse? Is

28:44

that... guilt?

28:46

What?

28:47

He was rich. He was old. You're

28:49

old too?

28:50

Does that make you dispensable? Unworthy

28:52

of basic kindness?

28:54

Look at you! You're scared! You

28:56

don't want to die! Just like

28:58

Clay didn't!

29:00

I'm not scared.

29:01

If she was going to shoot me, she'd have done it by now!

29:04

Never shot anyone at point bank

29:05

range before, JJ! Yeah, I know what I've done! What

29:08

I've been through! I've had a fight for my life!

29:11

I've spent

29:11

many years off the moon! Not really the

29:13

same, is it? It's

29:14

not easy, you know, shooting someone. Especially

29:17

now you've had time to consider what it really means

29:20

to pull the trigger.

29:22

Is that how it was with Clay? Is

29:23

that how you felt when you snubbed him with that

29:25

syringe?

29:26

Was it hard? Hard?

29:29

You think that was the hard part?

29:31

Not the planning. The letters,

29:34

that bloody squirrel, living in my

29:36

bloody car while Jen swarmed around

29:38

with her new bow, watching mockery

29:40

expand and thrive with blood

29:42

on his hands! Stabbing

29:44

Clay with a little syringe was a piece of cake!

29:47

And let me tell you, it gets easier

29:49

each time, and Clay wasn't my first! So

29:52

you'd be shooting me now! Watch your backs

29:54

for the rest of your lives! There.

29:58

That should do it.

29:59

I double check though just

30:02

in case. What's

30:03

that? Oh

30:05

you mean this? It's a Dixaphone.

30:08

I'm a private investigator.

30:10

You're about it. Months of planning

30:13

of hard graft. You got

30:15

him on tape.

30:16

You beauty. No, that's

30:19

not. JJ

30:24

keep the gun pointed at Mr Fenwick would you? Oh

30:26

okay. Just in case he gets some

30:28

foolish notion in his head about snatching

30:30

my Dixaphone. It

30:33

won't work. I'll tell them you forced

30:35

me to say it. You took me hostage

30:38

and forced me at gunpoint. Yeah,

30:40

you didn't think of that did you? Oh God Betty

30:42

has he got a point? Don't worry Parker. What

30:45

are those idiot coppers more likely to believe?

30:47

Some convoluted story

30:50

or a simple confession? Stabbing

30:53

clay with a little syringe with a piece of cake.

30:58

Actually Betty

31:00

I think it's best

31:00

if you hold the gun. I think I

31:03

need a little lie down. You think it's

31:06

over? Not quite long, I'm

31:08

showing. You think I

31:10

can't talk my way out of this? I'll take

31:12

it down. I'm thinking a lot of it

31:14

now. We

31:18

are now approaching Mockery Manor,

31:21

fancy land station. And we hope

31:23

you enjoyed your day in Claytonville.

31:26

See you real soon.

31:48

Thank you.

31:59

Well, for coming to this summer's final performance

32:02

of Cowboys on Ice And thank

32:04

you to our chaps and chaps for their sterling

32:07

worth They will return for our

32:09

Halloween special, Vampire Cowboys

32:11

on Ice Say it, hold on guys I

32:15

don't know, it's just not the same since they put pants on the

32:17

Cowboys

32:18

Mummy, can I go on the ice? Go

32:20

on, but be careful Betty,

32:22

I don't think we should let him just play on the ice, it's

32:25

the health and safety I think about Oh Parker,

32:27

I almost forgot, I set up a meeting with Jacob

32:29

this afternoon About building a permanent Kiowa

32:31

exhibit Oh

32:32

yeah, yeah, the Kiowa exhibit, yeah Be

32:34

careful, Freddy Oh, he's so reckless

32:38

I don't know where he gets

32:39

that from And I was thinking, maybe he could advise

32:41

us on improving the bird show You know, make it

32:43

less culturally insensitive What

32:45

are you grinning at? You, look at you, improving

32:48

the park, planning for the future That's

32:51

my JJ Yeah,

32:53

don't be too pleased, I'm still a traumatised fruit

32:55

loop

32:55

Aren't we all mate?

32:58

Aren't we all? Oh God,

33:00

what's he doing now?

33:02

Freddy, see you on the side

33:04

They're all having a go now, he's got the other

33:06

bloody kids up on the ice Jesus

33:09

Well at least he'll tire himself out Are

33:11

you two still okay to babysit while I'm on air tonight? I

33:13

can't bring him into the studio again He's

33:15

so sticky Yeah, sure, no problem

33:17

How's it going with Paul anyway? How's your

33:19

sneaky little plan coming along?

33:20

Unsolved Crime Time is their best performing show Since

33:23

I became co-host, that is I don't know how you'd better

33:25

be around him He's such a bellend Oh

33:28

Betty, can't you set up your own radio show? If

33:30

he realises you're angling to take his job

33:33

Well, keep your enemies close, that's what I say Come in,

33:35

JJ

33:35

Who's that? Come

33:39

in, JJ, Parker, anyone?

33:41

Even Betty Davina?

33:42

Is that Davina? Where is everyone

33:45

that's known us the Manus? Davina? Is that you? But they're

33:47

not due back for a couple of weeks

33:49

I know we're not supposed to be back yet. We

33:51

changed our plans Is everything alright?

33:52

Oh God, has something happened?

33:53

It certainly has

33:56

Oh, you'd never believe

33:58

it, Margot struck a door

33:59

You

34:26

have been listening

34:28

to Mockery Manor, written by Lindsay

34:30

Sharman and directed by Lindsay Sharman and

34:32

Lawrence Owen. Music, sound design

34:35

and editing by Lawrence Owen.

34:59

Oh

35:08

look, fire escape. Oh

35:10

my.

35:10

No, no,

35:13

no,

35:16

no, no, no, don't you dare

35:18

fall asleep on me. Wake

35:20

up, wake up. I'll leave you

35:22

here, do you hear me? I'll leave you. Sweetie,

35:26

sweetie

35:28

please wake up. This is your

35:30

one chance for freedom, there won't be another. So come

35:33

on Matty, I said wake up.

35:36

Oh Jesus.

35:40

Alright, alright I'm awake, I'm awake. Come

35:45

on Lord, let's get the fuck out

35:47

of here.

35:59

stable and falling network where fiction

36:02

producers flourish.

36:07

Were you accused of a murder enacted

36:10

by supernatural forces beyond your

36:12

control? Yeah. Are you seeking

36:14

a multi-figure gold settlement for

36:16

damages to your business? Yes.

36:20

Are you a young entrepreneur seeking justice

36:22

for the murder of a family member that would

36:25

be here if you were better at your job? Yeah.

36:28

Hello. I'm Thomas Phelps. I am the

36:30

attorney along with my assistants of Phelps,

36:33

Oz, Mogg, Bile, and Felcher, and we want

36:35

to help you get justice. Our

36:37

expert legal services are available for

36:39

a modest fee, but not too modest.

36:42

I got a family to feed.

36:42

As a boss, I don't eat, but

36:45

I do have a hunger.

36:47

A hunger for justice. And

36:49

that hunger

36:50

drives us to work for you, future

36:52

client. From investigation to sentencing,

36:54

we've got you covered for everything from

36:56

public urination. Oh, yeah.

36:59

To murder, inferring degrees. Don't

37:01

look at me. The attorneys

37:03

of Phelps, Oz, Mogg, Bile, and Felcher

37:06

care about families. That's why they

37:08

work quickly to help get this daddy off.

37:10

I was blown away. My business

37:12

was in trouble after an

37:15

unfortunate case of

37:17

property damage, but the

37:19

attorneys of Phelps,

37:22

Oz, Mogg, Bile, and Felcher helped

37:24

set things right with a hefty.

37:27

Go, settlement. So

37:30

come on down to the law offices of Phelps,

37:32

Oz, Mogg, Bile, and Felcher. Located

37:34

in the old Biscayne Boys Building. In

37:37

Eastern Oregon. Just

37:38

follow the podcast how we find

37:40

prevention and remit, and take

37:42

the season three exit. The attorneys

37:44

of Phelps, Oz, Mogg, Bile, and Felcher are not

37:46

responsible nor liable for any of the following that may be in curve

37:49

while working on your case. Sudden death, loss of limbs, heartbreak,

37:51

the use of magic to secure evidence, the wrath of an interdimensional being,

37:53

urinary bladder infection, nausea, depression, the sudden desire to remove

37:55

one's clothing, the illicit romance of a real day, both day workplace and every day. Or

37:57

complete an under different cause of the natural laws of faith and time.

38:00

Join your favorite fantasy attorneys

38:02

for their next case. Dungeons and

38:04

Drimbis publishes every Friday wherever

38:07

podcasts are found.