#david carey

[science70]

David Carey, How It Works - Printing Processes (Ladybird Books, 1971).

[erstwhile-punk-guerito]

[pourunhomme]

David Carey

[sixth-light]

A thought re Lies Sleeping and an ongoing mystery in the series:

I know it’s been theorized a few times Chorley’s Met mole could be Carey, on the basis that at this stage it’s been dragged on so long it should really be someone we know, and that he’s clearly uncomfortable with the Folly and also kind of a dick ( “never knowingly left a stereotype unturned”). However, it’s made clear in the early part of the book that a) Team Folly are EXTREMELY aware of the existence of a potential mole, to the extent that they keep records in hardcopy, everything regarding Operation Jennifer is need-to-know, Peter personally did clearances for every analyst on top of the usual Met clearances, etc. And, within that, Carey is considered part of the ‘inner circle’ of officers working the case along with Guleed, Stephanopoulos, Seawoll, Nightingale, and Peter. 

This means that Carey can only (knowingly) be the mole if a) he’s so good at hiding his tracks a thorough investigation uncovered nothing or b) nobody thought to check him out when Operation Jennifer was established. Peter is suspicious of even Guleed in The Hanging Tree; I doubt he’d forget to look into Carey. Additionally, to the best of my knowledge Lesley and Chorley don’t do anything in Lies Sleeping that would suggest they have an ‘inner circle’ leak. Even Peter’s kidnapping would only require the assumption that he’s reporting in contact with Lesley and therefore not likely to be suspicious of backup arriving, not exactly a big leap. 

So, in summary, I think Carey is clear of being the mole unless it’s somehow without his active knowledge (maybe?) or Peter (Nightingale/Seawoll/Stephanopoulos) made a VERY BIG fuck-up while setting up this operation, that we otherwise don’t have any hint of. 

Or it’s Seawoll or Stephanopoulos or Guleed, and we’re going to have our hearts pulled out and stomped on YET AGAIN. (I don’t actually think this.) 

[sixth-light]

@thebaneofhonor and @sanzsouci, combining your asks for similar theme:

sanzsouci: Oh, just something that popped into my head all of a sudden: We never get to know who Chorley's / Lesley's mole inside the police was / is, re: Peter's abduction...Or if they had a mole at all. Thoughts? Do you think it will be resolved with the Lesley plot (if it gets resolved anytime soon)? And, where do you think Lesley's story will/could go from here?

thebaneofhonor: My crack theory after reading the book: the Met spy is David Carey

So, yeah, we still DON’T know who Chorley’s non-Lesley Met mole is. @ilikesallydonovan theorised pre-release that it might not even be a mole per se, he just might have got access to HOLMES/HOLMES 2. But the memo at the beginning of Lies Sleeping and some discussion from Peter within (can’t find the quote rn) make it clear that Peter et al are still convinced it’s a person, and in fact that’s probably one of the reasons they’ve moved a lot of operations to the Folly and are keeping records on paper. 

What shores up the idea that it’s a person or persons is that when Lesley shows up to kidnap Peter, she shows up in a marked police car (”...an IRV [Incident Response Vehicle], a silver Astra with Battenberg squares, pulled up with no lights and no siren. The uniform inside leant over and called my name.”) 

The uniformed officer is male and not Lesley (Lesley is BEHIND Peter when he gets into the car), but we never find out anything else about him. Peter doesn’t recognise him or comment on his appearance. 

So either Lesley has access to a marked vehicle and police uniform good enough to fool Peter, a reasonably experienced officer, into accepting them as legitimate without question, or she has an accomplice (possibly the uniformed officer himself.) OR, of course, Martin Chorley seducere’d the uniformed officer. But either way, once Peter escapes, we never learn anything else about that. 

I used to think David Carey was a reasonably good candidate: he’s been a recurring character since WUG and since Peter makes a thing of there being a mole, it works better if it’s someone we know. Clearly he’s not the uniform, though, because Peter would recognise him and he seems to legitimately be on mental health leave. I also feel like he’s been brought into Folly operations to the extend that he must have been investigated fairly thoroughly by the time of LS. 

...IDK, basically at this point it’s been three books since the mole question was raised and it’s been simmering in the background the entire time and I feel like if it was going to be really important it would have come to greater prominence by now?

Unless, of course, the mole is a connection of Lesley’s and is going to be important for future Lesley plot reasons - because I absolutely believe Lesley is going to be an ongoing Problem/major antagonist, and her identity as a former police officer is probably going to be a part of that. 

So, in conclusion: we still don’t know, I am reasonably confident the mole is a person or person(s), it’s probably not anybody on Team Folly because they seem to be able to surprise Lesley and Chorley now and again, and I don’t think it’s David Carey but it’s not entirely out of the question. 

[tayyloryork]

@roojlee: Cool glasses, cool hair, cool memories.

[rolcomictranscriptions]

Body Work 5 Pages 11 to 15

Page 11

First Panel:

Reuel is running away from David who is standing still.

Second Panel:

Reuel goes through a door marked staff only without being pursued.

Third Panel:

Reuel runs past a confused looking man in chef’s uniform.

Fourth Panel:

Reuel runs through a door in to an alley way.

Fifth Panel:

Reuel runs in to the waiting arms of two uniformed police officer.

Sixth Panel:

Looking between the two police officers to a close up of Reuel’s face. framing his face is David on the left and the waitress on the right.

Waitress: I think you’d better settle your bill now.

Page 12

First Panel:

Nightingale is driving the Jag over a bridge.

Peter: Nightingale’s on his way. He set off right after I called him. I made sure he knew what’s going on.

Second Panel:

Peter and Sahra’s faces. 

Sahra: What’s going on?

Peter: It all seems to start with violent death.

Sahra: Oh goody.

Third Panel:

In sepia, Nightingale’s pals are driving the Bentley.

Peter: Something is released and it goes looking for a new home. But it isn’t interested in damaged goods. So, that rules out anyone who is off their tits on booze.

In faded colours, the picnic at the Mapstone house.

Peter: Or drugs.

Fourth Panel:

In sepia, the Bentley is parked in front of the church.

Peter: So it went looking for a suitable home. And it found a car.

Fifth Panel:

In faded colour, the BMW is parked outside the Mapstone house.

Peter: It seems to like cars.

Page 13

First Panel:

In sepia, tight focus on Archie in the Bentley.

Peter: But it likes people, too.

Second Panel:

In faded colours, tight focus on Kimberly scowling at the picnic.

Peter: Providing their head’s are clear.

Third Panel:

Peter and Sahra standing on the pond bank.

Peter: Some force was released... Here and at the martyrs’ monument in Stratford.

Sahra: A ghost?

Fourth Panel:

Focus tightens on to Peter and Sahra.

Peter: It doesn’t work like that. There aren’t any ghosts. Not as such.

Sahra: Not as such. Very reassuring.

Fifth Panel:

Sahra has got her phone out.

Sahra: Sorry. It’s Carey.

Sixth Panel:

Focus tightens just to Sahra.

Sahra: Yeah? Well done. He did, did he? And do we believe him? Hmm...

Page 14

First Panel:

Focus pulls back out to show Peter and Sahra torsos.

Sahra: We’ve got Reuel. He tried to run - of course. But he didn’t get very far.

Peter: Nice one.

Second Panel:

Sahra turns from her phone to look at Peter.

Peter: They asked him about buying that car... The last BMW on our list. He didn’t deny it. But he said he’d brought it on behalf of someone else.

Third Panel:

Close up on Peter’s face.

Peter: Kimberley Mapstone.

Fourth Panel:

Pulls back out to show Sahra as well. Sahra is smiling at him.

Sahra: Don’t you ever get tired of being right?

Peter: We need to get an alert out on her. And the car.

Fifth Panel:

Close up on Sahra’s face.

Sahra: We may not need to.

Sixth Panel:

Focus pulls back out to show Peter and Sahra. Sahra has turned and is pointing towards the house.

Sahra: Look...

Page 15

There is only one panel. It shows a orange BMW driving at speed down a road. Kimberly is driving with Brian and Ryan as passengers.

[rolcomictranscriptions]

Body Work 3 Pages 11 to 15

Page 11

First Panel:

Back in Sahra’s office there are three new people in the office. Sahra is sitting at her desk with the headset still on.

Sahra: I’m almost finished. How are you doing? A completely normal human being as far as I know.

Second Panel:

 The focus pulls in on Sahra’s hand and the list with her computer screen in the background. There are three registrations not yet crossed off on her list.

Sahra: Why do you ask?

Third Panel:

Tom is fixing a light blue BMW on to a two truck. David Carey is talking on the phone off to side.

Tom: Don’t you worry about a thing, my love. We’ll soon have you fixed up and back to your normal non-psychopathic self.

Fourth Panel:

Panel pulls in to David’s face.

David: Oh, no reason. Tell Peter he owes me for this.

Fifth Panel:

Location changes to Sahra’s office tight on her face.

Sahra: Not as much as he owes me.

Sixth Panel:

Sahra’s computer screen with the DVLA website up and her face reflected in the monitor.

Sahra: Next...

Seventh Panel:

Sahra’s face and the back of her computer monitor.

Sahra: Oh, hello! Mr Nasirovic? This is Sahra Guleed of the Metropolitan Police...

Page 12

First Panel:

A older white man is knelt in front of a young woman who is lying on the street bleeding from her nose and ears. Behind the man and woman is a bronze BMW.

Mr Nasirovic: Help me! I think I have killed someone!

Second Panel:

Miriam is holding the door to Sahra’s office open holding a box of dog food. Sahra and Toby are running through the open door.

Sahra: Sorry, Boss. Gotta do, life or death.

Third Panel:

The corridor outside Sahra’s office. Sahra and Toby have almost reached the end. Miriam is looking sadly at the box of dog food.

Miriam: Oh well.

Page 13

First Panel:

Peter and Nightingale’s faces in front of a concrete wall with ivy growing up it.

Nightingale: I think the Folly will be the safest place for her.

Peter: Oh, “she” ought to fit right in...

Second Panel:

Focus pulls out to show the two truck and blue BMW from before with Tom standing on the truck bed in the entrance to the Met Vehicle Impound Lot.

Nightingale: Can you help us with transport, Mr Debden? We’ve decided it would be safest not to drive the Bentley through the streets.

Tom: No worries. We’ll put it on my lorry. Just let me unload this BMW, and put wheel clamps on all its wheels. You can’t be too carefull...

Peter: Very true. Tell me something did you ever try to drive that BMW the woman gave you?

Third Panel:

Focus pulls in to just Peter and Tom’s faces.

Tom: As it happens , I did. I took it up the M1 for a test drive. But I didn’t like the feel of it... That’s one reason I broke it up for parts.

Peter: Did you see anything unusual through the windscreen?

Fourth Panel:

Focus pulls in to just Tom’s head.

Tom: I saw someone cut across three lanes of the motorway in front of me without indicating. But that’s not really unusual...

Page 14

First Panel:

Close up of Molly’s head and shoulders with her looking straight forward.

Second Panel:

The courtyard at the Folly. Tom is closing the gates. Peter and Nightingale are walking towards Molly. The Bentley is parked in the courtyard as is the silver Jag. Molly is stood next to the Jag with her hands clasped in front of her.

Third Panel:

Peter, Nightingale and Tom’s heads and shoulders. Peter’s back is facing the reader.

Nightingale: Allow me to ring for a taxi for you, Mr Debden.

Tom: Not just yet, thank you. I think I’ll just say hello to that little lady over there.

Fourth Panel:

Tom is walking towards the reader, Peter and Nightingale are in the background exchanging a look.

Tom: A man has to try his luck.

Fifth Panel:

Molly and Tom’s heads.

Tom: Well, hello there, Miss. i assume it is ‘Miss’? Anything else would be just too heartbreaking.

Page 15

First Panel:

Molly and Tom’s heads are in the foreground. Molly has turned away from him. Peter and Nightingale can be seen watching in the background.

Tom: Thomas Debden at your service. I saw you admiring that car, as it happens I specialise in cars.

Second Panel:

Molly can be seen walking back in to the Folly with Tom following her. In the foreground Peter and Nightingale are still watching.

Tom: The silent type, eh. That’s all right, I have enough chat for both of us.

Third Panel:

The door to the Folly closes behind them. Peter and Nightingale turn to each other watches out.

Peter: How long do you give him?

Nightingale: Hmmmm.... Well, he does seem very keen...

Fourth Panel:

Tom can be seen exiting the Folly looking scared.

Nightingale: On the other hand...

Fifth Panel:

Tom’s head is in the foreground looking scared. Peter and Nightingale’s heads are behind, they are grinning and looking at each other.

Tom: Actually, sir, I think I will get that taxi now if you don’t mind.