location for filming, but this is never stated explicitly (though the young Philip's references to his home in "the Forest" come close). The suicide of his mother is one of several recurring images in the series; Marlow uses it (whether subconsciously or not) in his murder mystery and sometimes replaces her face with different women in his life, real and imaginary. The noir mystery is never solved; all that is ultimately revealed is an intentionally vague plot involving smuggled Nazi war criminals being protected by the Allies and Soviet agents attempting to stop them. This perhaps reflects Marlow's view that fiction should be "all clues and no solutions". The three worlds of the hospital, the noir thriller and wartime England often merge in Marlow's mind, resulting in a fourth layer, in which character relationships that would otherwise be impossible (e.g., fictional characters interacting with non-fictional characters) occur. This is evident in that characters in the novel represent many of Marlow's friends and enemies (perceived or otherwise), particularly Raymond, Marlow's mother's lover, appears as the antagonist in the "real" and noir worlds (although the "real" Binney/Finney is ultimately a fantasy as well). The use of Binney as a villain stems from the fact that Binney committed adultery with Marlow's mum and simultaneously (and perhaps publicly) cuckolded Marlow's dad, whom Marlow loved. Marlow's guilt at his apparent belief that he caused his parents' separation and even his mother's suicide is exacerbated by his early childhood memory when he framed young Mark Binney for defecating on the desk of a disciplinarian elementary teacher (Janet Henfrey). The innocent Binney is brutally beaten in front of the classroom and Marlow is lauded for telling the "truth". These events haunt Marlow and one of the shadowy villains who apparently is determined to kill Marlow looks very much like an adult version of the real child, Mark Binney. The real Mark Binney eventually ends up in a mental institution, as Marlow confesses later to the psychiatrist. The villainous Binney/Finney character is killed off in both realities. It is suggested that in each reality, the guilt of Binney/Finney/Mark is entirely the product of Marlow's imagination as, in one case, Finney, the wife's lover, does not exist. In the other, it is the name of the character Marlow chooses as the guilty party and the boy's guilt is a lie told by Marlow to his teacher. In the end,