- 4 months ago
First broadcast 1st January 2005.
A small, family-owned museum features a "murder room", devoted to famous murders.
Martin Shaw - Adam Dalgliesh
Janie Dee - Emma Lavenham
Samantha Bond - Caroline Dupayne
Kerry Fox - Muriel Godby
Siân Phillips - Marie Strickland
Michael Maloney - Neville Dupayne
Nicholas Le Prevost - Marcus Dupayne (as Nicholas le Prevost)
Jack Shepherd - James Calder-Hale
Anita Carey - Tally Clutton
Tilly Blackwood - DI Kate Miskin
William Beck - DI Piers Tarrant
Sid Mitchell - Ryan Archer
Lisa Kay - Angela Faraday
Kate Alderton - Sara Dupayne
Lesley Vickerage - Clara
Anthony Calf - Lord Martlesham
Selina Cadell - Lady Swathling
Thomas Wheatley - A/C Harkness
Harry Burton - Bruno Denholm
Ty Glaser - Celia Mellock
Maryann Turner - Ada Gearing
Daniel Flynn - FIO Anderson
Trevor Laird - Phil Carter
Richard Cubison - Nobby Clarke
Nicholas Gecks - Alfred Arthur Rouse
Paul Williamson - Whitehall Colleague
James Weber Brown - Whitehall Colleague
Sara Carver - Dalgliesh's P.A.
Peter Banks - Conrad
Greg Wakeham - Ryan's Flatmate
Eloise Mayling - Schoolgirl
Ray Donn - Whitehall Colleague
A small, family-owned museum features a "murder room", devoted to famous murders.
Martin Shaw - Adam Dalgliesh
Janie Dee - Emma Lavenham
Samantha Bond - Caroline Dupayne
Kerry Fox - Muriel Godby
Siân Phillips - Marie Strickland
Michael Maloney - Neville Dupayne
Nicholas Le Prevost - Marcus Dupayne (as Nicholas le Prevost)
Jack Shepherd - James Calder-Hale
Anita Carey - Tally Clutton
Tilly Blackwood - DI Kate Miskin
William Beck - DI Piers Tarrant
Sid Mitchell - Ryan Archer
Lisa Kay - Angela Faraday
Kate Alderton - Sara Dupayne
Lesley Vickerage - Clara
Anthony Calf - Lord Martlesham
Selina Cadell - Lady Swathling
Thomas Wheatley - A/C Harkness
Harry Burton - Bruno Denholm
Ty Glaser - Celia Mellock
Maryann Turner - Ada Gearing
Daniel Flynn - FIO Anderson
Trevor Laird - Phil Carter
Richard Cubison - Nobby Clarke
Nicholas Gecks - Alfred Arthur Rouse
Paul Williamson - Whitehall Colleague
James Weber Brown - Whitehall Colleague
Sara Carver - Dalgliesh's P.A.
Peter Banks - Conrad
Greg Wakeham - Ryan's Flatmate
Eloise Mayling - Schoolgirl
Ray Donn - Whitehall Colleague
Category
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TVTranscript
00:01:00Lift it!
00:01:18Yes, Muriel.
00:01:20I'm just hoovering them.
00:01:28Don't be pawing everything.
00:01:29I'm just hoovering them.
00:01:59There you are, Tomcat.
00:02:15Oh, I never seem to know where you are these days.
00:02:19Come on, let's go and get you something to eat.
00:02:26Neville?
00:02:36Neville?
00:02:38Neville?
00:02:40I haven't got time to talk.
00:02:42It's Friday.
00:02:43I want to get my car and start my weekend.
00:02:45You've passed ten minutes with Mary Strickland.
00:02:47After enough, you can pass it with us.
00:02:49It's an ambush.
00:02:55That's what it is.
00:02:57Five minutes no more.
00:02:58We're your brother and sister, Neville, not the Inquisition.
00:03:01Have a cup of tea and stop sulking.
00:03:02None of your tea and none of your biscuits.
00:03:04Mrs. Strickland, could we ask you to...
00:03:06Thank you, Mrs. Strickland.
00:03:13Marcus thinks you enjoy toying with us.
00:03:15I'm not toying with anyone.
00:03:17Then sign a bloody lease and have done with it.
00:03:19A tart, of course.
00:03:21Violet K.
00:03:23Met a very sticky end and stuffed in a trunk.
00:03:26This one here.
00:03:27That's her killer.
00:03:29Aren't you done in there yet, Brian?
00:03:31I'll hurry him up, Muriel.
00:03:32Sorry, Mr. Quarterhill.
00:03:36Ever thought of stuffing Muriel in a tin trunk, Brian?
00:03:40You'll have to read my book when it's finished.
00:03:43If it ever is now.
00:03:45What's the place done exactly, Marcus,
00:03:46to warrant this unquestioned existence?
00:03:48Don't be ridiculous.
00:03:49Neville, warrant its existence.
00:03:50Looked out like that, how many of us would earn our place?
00:03:52Oh, you would, Caroline.
00:03:53Don't you worry.
00:03:54The noble psychiatrist is battling hospital bureaucrats
00:03:56and government cuts.
00:03:58How's it going?
00:04:01What do you know about it?
00:04:02You said you weren't going to shut it.
00:04:03Weren't we?
00:04:05We close.
00:04:07If he doesn't sign,
00:04:10is that bobble scotch still in the kitchen?
00:04:16Friday.
00:04:18I'm off to my evening class.
00:04:20I'll have some leftover biscuits.
00:04:21I'll leave them in the porch.
00:04:24Probably the most notorious murder of the interwar years.
00:04:28Blazing car murder, 1930.
00:04:32Alfred Arthur Rouse.
00:04:35Bigamist and womanizer.
00:04:39He needed to disappear quite quickly.
00:04:42Preferably to be thought dead.
00:04:45He picked up a vagrant in a London pub,
00:04:49tried him with scotch,
00:04:54and took him for a ride.
00:04:56You give all this empathy to your patients, Neville.
00:05:00Try and use a bit on your brother.
00:05:01He retires next week.
00:05:02He's given the push.
00:05:03Yes, all right.
00:05:04Probably he was.
00:05:05And he's thrown his whole life into taking over here.
00:05:07He knows how I feel.
00:05:08I never said I would sign.
00:05:11You know Alison's left him.
00:05:13She's in Australia seeing the grandchildren.
00:05:16For 11 months.
00:05:16Yes.
00:05:17Well?
00:05:20I think we should reconvene after the weekend.
00:05:24In a calmer atmosphere.
00:05:27You think he'll agree to that?
00:05:31Things didn't go to plan for Alfred Arthur Rouse either.
00:05:35Have you ever trained that psychologist to insight on yourself, Neville?
00:05:42Are you going to have a try, are you?
00:05:44You're like a spoiled kid.
00:05:46Knocked Freud into a cockcat with that one.
00:05:49They started off all right.
00:05:55When he'd finished with the mallet,
00:05:57he'd look at the body,
00:05:58he'd look at the driver's seat.
00:06:00We want to fetch a jelly can of petrol.
00:06:09And this.
00:06:19Like a kid.
00:06:30Then it all went wrong for Alfred Arthur Rouse.
00:06:48Looks as if someone's had a bonfire down there.
00:06:50Kate, do you know about this?
00:07:05I don't think that's a fair question, sir.
00:07:08I'll take that as a yes then, shall I?
00:07:12I was just selling things out.
00:07:15I'm your team leader, Piers.
00:07:16If you want to talk about promotion, talk to me first.
00:07:18I was going to, sir.
00:07:20Oh, you were going to talk to me first
00:07:22after you'd spoken to someone else?
00:07:24I was checking the lie of the land.
00:07:25Yes, with two of my colleagues on the liaison committee
00:07:28who, of course, presumed I'd know what you were up to.
00:07:31You're not the easiest person to talk to sometimes.
00:07:35Aren't I?
00:07:40Well, as long as you're still here,
00:07:42why don't we get on with the Monday briefing, Kate?
00:07:45Witness statements.
00:07:46Yes, yet another new initiative regarding transcription.
00:07:51What, on the phone or here?
00:07:55Yes, I'll be right down.
00:07:59Just, um, talk among yourselves.
00:08:06Come on.
00:08:06A day off came up,
00:08:20so I thought I'd come to London
00:08:22and see if you're free for lunch.
00:08:24Well, I can be.
00:08:26Good.
00:08:29Then I'll pick you up at...
00:08:30Um, one?
00:08:36One.
00:08:43Enough said, then.
00:08:44See you at one.
00:08:46He'd have known if I was lying, anyway.
00:08:49You could have just said nothing.
00:08:50Well, you could have just said nothing
00:08:51instead of whinging about how he's hard to talk to.
00:08:53He is hard to talk to.
00:08:55He goes for quality, not quantity.
00:08:58He's with a woman.
00:09:03Is that Emma Leavenham?
00:09:05He broke into Monday briefing to talk to her.
00:09:08To talk to who?
00:09:09Okay, everybody, we'll be going in the school room.
00:09:24Who are you representing?
00:09:26The school.
00:09:27Very good.
00:09:28Okay, best behaviour.
00:09:30There are members of the public inside.
00:09:32We'll be going in short.
00:09:33Okay, now, as you know,
00:09:34if you've all done your coursework,
00:09:36this museum concerns a period between the two wars,
00:09:40the 1920s and the 1930s.
00:09:43Now, who can tell me what was happening
00:09:46in those years?
00:09:47Tell me.
00:09:51Where did Adolf hit the thumb from?
00:09:52Germany.
00:09:53He was born in Austria,
00:09:54but he came from Germany.
00:09:56Well, let's get on, then, show me.
00:10:12The AC popped in, sir.
00:10:14He says he wants to see you,
00:10:16but he's in meetings for most of the day.
00:10:18Well, Harkness was in here.
00:10:20While you were outside.
00:10:22It's the murder place.
00:10:28This is the DuPayne Museum.
00:10:30We cover the interwar years.
00:10:32One of the rooms deals with murders of that period.
00:10:34Can we see it?
00:10:35We're doing a project?
00:10:36Five minutes, you can.
00:10:37We're not open yet.
00:10:38No mobiles.
00:10:39Science says.
00:10:40You'll have to switch it off.
00:10:45Muriel.
00:10:47Muriel, sorry.
00:10:48I wanted to have a word with James Calderhill.
00:10:50Oh, he's on the phone.
00:10:59All those leaves to rest.
00:11:03Autumn reminds me why I live in a flat nowadays.
00:11:07Dr. DuPayne's gone inside.
00:11:10If I had a jag, I wouldn't keep it just for weekends.
00:11:17Has anybody seen Tomcat?
00:11:19Sorry.
00:11:20He used to be so regular in his habits.
00:11:24Tomcat.
00:11:33An unlikely killer.
00:11:36A staid insurance salesman whose only passion was chess.
00:11:39We don't usually see you here on a Monday.
00:11:46Well, I usually come here earlier.
00:11:47Wanted to have a quick word with James Calderhill.
00:11:53Marie Marguerite Famille.
00:11:55She shot her playboy husband in the Savoy Hotel of all places.
00:11:59The case was remarkable for Edward Marshall Hall's defence.
00:12:02Marie, I am aware that this stuff is historically interesting.
00:12:05He did it, of course.
00:12:05But thanks to Marshall Hall, she got away with it.
00:12:10Caroline says the signage is getting very tatty in here.
00:12:13She's asked me to renew the worst of it.
00:12:15Well, that one's on its last legs.
00:12:16The psychiatric department at the hospital has been underfunded for as long as I've been there.
00:12:30People's lives are degraded, destroyed.
00:12:33No-one seems to care.
00:12:36But this, this must be preserved.
00:12:40This place is a monument to my father's neglect and abuse of his wife and children.
00:12:47And what are you going to do?
00:12:49Panish him posthumously by closing it down?
00:12:52It's Marcus you'll be hurting.
00:12:53And Caroline?
00:12:54They need it.
00:12:57You don't.
00:13:01Max was an old-fashioned father.
00:13:05It was an old-fashioned time.
00:13:08It wasn't that long ago.
00:13:10My worst failure comes back to me in flames of fire.
00:13:26I'm sorry, Ella.
00:13:37I say things to you sometimes, Ella.
00:13:42I'm sorry.
00:13:45It's all right.
00:13:48You wanted to see me?
00:13:54Morning, Ben.
00:13:55Morning.
00:13:56All set for the big day?
00:13:58Ready as I'll ever be.
00:13:59Got yourself a ride-on, lawn lover.
00:14:02Not as yet.
00:14:03Minister coming to the centre?
00:14:05So he tells me.
00:14:13What's it for?
00:14:15I wanted an opinion from someone who wasn't a Dupain, that's all.
00:14:18What's it for?
00:14:21The spirit of this place should be running in your veins.
00:14:24This office of yours was my bedroom once.
00:14:27My family owned this house before my father sold it from under us.
00:14:30You think I should be grateful?
00:14:31You want a definition of a museum, Neville.
00:14:33Is that it?
00:14:34We preserve aspects of the past.
00:14:37We put them on display.
00:14:38Would you prefer it if we were born anew every morning?
00:14:41Murder between the wars.
00:14:51Is this your book?
00:14:52Yes.
00:14:53I'm demonstrating how murder holds up a mirror to the age in which it's committed.
00:14:59How's it coming?
00:14:59How do you think in these circumstances?
00:15:04I'm dying.
00:15:05Do you know that?
00:15:06A particularly inventive little tumour.
00:15:12What chance of finishing my book if this place closes, do you think?
00:15:16Emotional blackmail.
00:15:19Well, here's some more little cut-and-paste letters.
00:15:25Everybody loses their job.
00:15:27And they're home too, some of them.
00:15:30If you don't sign that lease.
00:15:32I'm listening to this.
00:15:33Well, we all know that.
00:15:50Doctor?
00:15:51Oh, right.
00:15:52How's it going?
00:15:53Fine.
00:15:53Just, there are rumours flying about.
00:15:56Oh, you're worried about your job?
00:15:58People are saying you'd never like the place.
00:16:00I told you it fell to him I'd look out for you, and I'm not going back on that.
00:16:02Now, if the museum closes, I'll get you a job at the hospital.
00:16:06I like this job, Doctor.
00:16:08I love it here.
00:16:09I like this job.
00:16:29Celia.
00:16:30Celia Malach.
00:16:32Okay.
00:16:35His lordship's expecting you.
00:16:36Muriel, I'm with Lady Swathing at the moment.
00:16:45Leave it with me. I'll talk to him.
00:16:48How is ghastly it got me?
00:16:49I couldn't do without her at the DuPayne.
00:16:52My deputy head seems to be spending more time on her museum than her school at the moment.
00:16:57The school's my priority.
00:16:59As soon as the lease is signed on the museum, Marcus won't need my help anymore.
00:17:03I do miss Muriel's biscuits.
00:17:05Being my PA here didn't suit her.
00:17:08All these headstrong young women.
00:17:12We're breaking all the rules.
00:17:24I bumped into that Melick girl last week, that awful tattoo. Sarah.
00:17:29Celia.
00:17:30Celia. In Selfridges.
00:17:32And she mentioned the DuPayne.
00:17:33Did she?
00:17:34Yes, she said she'd visited the DuPayne.
00:17:36And she thought that a lot of our girls would enjoy it.
00:17:39The arts of the interwar years aren't really on our syllabus.
00:17:43Anyway, she said she thought it might repay a visit and to give you her regards.
00:17:46Said to say thank you for 96.
00:17:491996.
00:17:51I think that was what she said.
00:17:53I hadn't even met her in 1996.
00:17:55Yeah, that's what I thought.
00:17:56Oh, I miss this in Cambridge, this great slice through the city.
00:18:09We've got a river in Cambridge.
00:18:11Bit of a trickle, though, the can.
00:18:13This is proper strong brown god stuff.
00:18:17It opens everything up.
00:18:19I suppose you get used to poets just being poets.
00:18:25Or at the most, academics, not...
00:18:27Coppers?
00:18:28The very word.
00:18:29It's blunt.
00:18:30It's the opposite of poetic.
00:18:32Which is what I like about it.
00:18:33Maybe I should take up something else, too.
00:18:37A lecturer come...
00:18:39Ironmonger.
00:18:41Haberdasher.
00:18:42You love your job as it is.
00:18:45You're right.
00:18:46I do.
00:18:48Job-wise, I'm hunky-dory.
00:18:51And so are you.
00:18:53You've got to be getting back, I know.
00:18:59You still coming down on Friday?
00:19:00Fireworks night, I wouldn't miss it.
00:19:02You've got somewhere to stay?
00:19:06Clara's.
00:19:07We've got some cashing up to do.
00:19:17When I was married...
00:19:19It's a long time ago now, but...
00:19:22Giving what I was meant to give...
00:19:25Myself...
00:19:29It seemed so simple then.
00:19:30It was...
00:19:31It was almost like nothing.
00:19:37And now it's different?
00:19:39Yes.
00:19:45He wouldn't let me down like that.
00:19:46Not after getting me the job.
00:19:47I hope you're right.
00:19:50I know the doctor.
00:19:51Any more of this?
00:19:54Oh.
00:19:58The bloke whose room I was using came back.
00:20:01Where are you sleeping?
00:20:02On the settee.
00:20:04Now, you'll stay up late.
00:20:05I don't get much sleep.
00:20:06I was late again this morning.
00:20:08I don't want to lose this job.
00:20:10It's kept me out of trouble.
00:20:11Oh, dear.
00:20:13Good thing about here.
00:20:14You're right on the spot.
00:20:15That's what I could do with.
00:20:18Want a lodger, Mrs. Clutter?
00:20:20Come on, Mr. Clutter.
00:20:31Tomcat.
00:20:32Just that little birdie had killed.
00:20:34Or half killed.
00:20:35I chased him away.
00:20:36It doesn't normally do that.
00:20:38Evil cats.
00:20:39That trunk.
00:20:43The one in the murder room.
00:20:44Is it really the one they stuck Phylock Hay in?
00:20:46Mr. Clutter House says it was.
00:20:48Only, it's hard to tell with him.
00:20:50You should probably keep away from him.
00:20:53He acts like he knows what you're thinking.
00:20:55Like he can see right into you.
00:20:58Has he got bloodstains in it, then?
00:21:01What?
00:21:02With the trunk.
00:21:04Must take a lot of guts to kill somebody.
00:21:07Iron?
00:21:07Iron?
00:21:09Well, it's this place.
00:21:10It gets you thinking like that.
00:21:19Doctor's here.
00:21:20We're waiting for someone to die, aren't we?
00:21:24Yes.
00:21:27Yes, Mrs. Gearing, we are.
00:21:30But you hold on to the fact that you're now on top of the waiting list.
00:21:34Yesterday?
00:21:34I must have just closed my eyes and he'd gone.
00:21:38He can move fast when he wants to.
00:21:40I found him halfway to the shop shouting at some poor woman with a baby in a buggy.
00:21:46The language.
00:21:47I tried to explain about the Alzheimer's, but then he didn't want to come home, so I was shouting.
00:21:57He's going to run out into the road one of these days.
00:22:00I know things are difficult for you, but it's going to get a lot easier very soon.
00:22:04Six months he's been top of the waiting list.
00:22:07I can't cope with him at home anymore, Doctor.
00:22:12No.
00:22:14I never thought I'd hear myself say that, but I can't.
00:22:19I know.
00:22:20I'm ashamed to say it.
00:22:22Don't be.
00:22:24Ashamed I am.
00:22:25I wish you'd known him before.
00:22:30Have a great drink.
00:22:31It must take a lot of guts to kill somebody.
00:23:01Good night.
00:23:05One drink. My train's in half an hour.
00:23:08I can't believe you're going to sneak off back to Cambridge without telling me everything.
00:23:11I told you everything on the phone.
00:23:13Well, hardly.
00:23:14So you just dumped on the train? You didn't even check he was going to be there?
00:23:18If I had checked he was going to be there, he might have said he was busy.
00:23:22So?
00:23:23So.
00:23:24Did you kiss?
00:23:26No.
00:23:27Clara!
00:23:28Dreamy expressions, Freudian slips, glances down your cleavage.
00:23:32Do you think he just likes me as a friend?
00:23:35Well, jump on him, that'll tell you.
00:23:37I don't want to jump on him.
00:23:39Well, I mean, I do, but...
00:23:42He's the one, Clara.
00:23:45Okay.
00:23:46He doesn't like phones.
00:23:48He lives alone in an apartment you're never invited to, above an empty office block.
00:23:53And he spends all day with dead bodies.
00:23:56It's not empty.
00:23:57Only after six.
00:23:58You're doing what you always do.
00:24:01You're setting yourself an impossible challenge.
00:24:03Getting close to a man with a fire exit where his heart's supposed to be.
00:24:08Why don't we dream?
00:24:09Tell me.
00:24:10No one will know anything.
00:24:11No one will know anything until after the meeting tomorrow.
00:24:12I know.
00:24:13It's difficult.
00:24:14It must be done.
00:24:15You're almost done, Tally.
00:24:16Mm-hmm.
00:24:17Muriel will look up.
00:24:18All right.
00:24:19Tally?
00:24:20Angela, I want you to ring the unit again about Albert Gearing.
00:24:23I promise we'd do everything we could.
00:24:24His wife's desperate.
00:24:25Neville.
00:24:26Malcolm's left me.
00:24:27Oh, no.
00:24:28No.
00:24:29No.
00:24:30No.
00:24:31No.
00:24:32No.
00:24:33No.
00:24:34No.
00:24:35No.
00:24:36No.
00:24:37No.
00:24:38No.
00:24:39No.
00:24:40No.
00:24:41No.
00:24:42No.
00:24:43No.
00:24:44No.
00:24:45No.
00:24:46No.
00:24:47No.
00:24:48No.
00:24:49No.
00:24:50No.
00:24:51No.
00:24:52No.
00:24:53No.
00:24:54No.
00:24:55No.
00:24:56No.
00:24:57No.
00:24:58No.
00:24:59No.
00:25:00No.
00:25:01No.
00:25:02No.
00:25:03No.
00:25:04No.
00:25:05No.
00:25:06It's over.
00:25:07You told him it was over?
00:25:08Yes.
00:25:09Then...
00:25:10He says it's not.
00:25:11He says that...
00:25:12all I think about is you.
00:25:14He says that just...
00:25:15saying, it's over between us...
00:25:16doesn't make it over.
00:25:17You-you told him you were moving that we wouldn't be worth...
00:25:19I love you.
00:25:23It was you that ended it.
00:25:26For him.
00:25:27I would never have done that if I thought that you would just...
00:25:31Sorry.
00:25:34Look, we've been over it and over it.
00:25:37I know.
00:25:38It's just something that's not there in me.
00:25:42What do you want?
00:25:44I think it is.
00:25:48Just forget about me.
00:25:50I can't.
00:25:52If you can, you find him, go back to him.
00:25:56Forget about me.
00:26:16Is Neville Dupain joining them?
00:26:19So tomorrow, this time we need to know exactly what we're going to say and we need to stick
00:26:30to it.
00:26:30If he bothers to turn up.
00:26:33Leave him to me and he'll turn up.
00:26:36I don't want you near him.
00:26:37You know best.
00:26:49When it comes to Neville, I do know best.
00:26:57Open some wine.
00:26:58Something different?
00:27:01New rugs.
00:27:04Oh.
00:27:06Nothing but the best.
00:27:08I compromise.
00:27:10Lady Swathing must be very appreciative of what you've done for that school of us.
00:27:15Smell chestnuts.
00:27:23You might get one of the girls on reception to fetch a bag.
00:27:28Fancy a chestnut?
00:27:29If you're having one.
00:27:31Well, the minister wanted me to sound you out on expanding the work of the special investigation
00:27:37squad.
00:27:38Expanding it how?
00:27:39Could you see if there's someone outside selling chestnuts and get me a bag?
00:27:47Thanks.
00:27:50Several squads based around the country with you overseeing.
00:27:54If I was overseeing several squads, what would be my role in any particular investigation?
00:28:00You'd have to take a step back from the immediate operational.
00:28:04Sorry, I wouldn't be interested.
00:28:06Perhaps the minister could ask someone else?
00:28:09A lot of detectives get weary of the offender interface.
00:28:12Of what?
00:28:14What are you afraid of, Adam?
00:28:16Taking a step in the dark?
00:28:17Can't I just like what I do?
00:28:19Of course you can.
00:28:21You're good at it.
00:28:22Everyone knows you're good at it.
00:28:25But maybe you'd be good at this too.
00:28:27Maybe you've boxed yourself in where you are.
00:28:31It doesn't feel like that.
00:28:33Comfortable little box.
00:28:34Very cozy.
00:28:36Nothing to jostle you out of yourself.
00:28:39Close-knit team around you.
00:28:41One of them told me I was difficult to talk to.
00:28:43Wherever did he get that idea?
00:28:46I'm not giving up on this, Adam.
00:28:48You need a challenge.
00:28:49I didn't look stuck for words with that blonde outside today.
00:28:58Emma, you're a dark horse.
00:29:03What do people really mean by that?
00:29:09Oh, pity.
00:29:13I could have sworn I could smell chestnuts.
00:29:16Hello?
00:29:41Dad, it's me.
00:29:42Dad?
00:29:46I've packed it in.
00:29:50The job.
00:29:51I'd had enough, Dad.
00:29:52I'd really had enough.
00:29:53I'm a free woman.
00:29:55Cheers.
00:29:57And I know what I want to do.
00:29:58I want to travel.
00:29:59I want to get as far away from everything as possible.
00:30:02I really think I need to look after myself for a change.
00:30:04Sarah, have you really thought...
00:30:05Look, don't panic.
00:30:07I don't want your money.
00:30:08I just want what's mine.
00:30:10What is yours?
00:30:12Well, when the museum closes, it'll give me the money I need.
00:30:15Good few thousand, you said.
00:30:17And if it doesn't close?
00:30:20Caroline and Marcus can't keep it open if you don't want to.
00:30:24There's a lot hanging on my decision, Sarah.
00:30:27Not just your sudden desire to see the world.
00:30:29You're backing out.
00:30:30No, I'm not backing out.
00:30:31I'm just saying I haven't fully made up my mind yet.
00:30:33You said you had.
00:30:34Yeah, look, there's people's jobs and livelihoods to think of.
00:30:36And I've just packed mine in because you said it was closing.
00:30:40Things are not quite as simple as they seem to you.
00:30:43You see, that boy, it fell from Ryan, for example.
00:30:45Now, he was here on...
00:30:46You knew all this before.
00:30:51I can lend you the money.
00:30:52I don't want your money.
00:30:54My name is on Grandad's will from the museum.
00:30:56That is money of my own.
00:30:57Well, look, it may well be that the decision I reach
00:30:59will be the one that you want.
00:31:03Going away is only going to bring you back here
00:31:05to face the same problems that you've had before.
00:31:06Which are?
00:31:08We needn't go into that.
00:31:09Yeah, well, maybe we do if you're not prepared
00:31:10to lift a single finger to help me.
00:31:12I just told you I'd lend you the money.
00:31:19Just like your father.
00:31:20Don't ever compare me to him.
00:31:22It's true.
00:31:24I hardly saw you at all until Mum died.
00:31:27You were at the hospital with your precious patients.
00:31:30And now the one time you really get a chance
00:31:31to do something for me, what do you say?
00:31:33I can't make up my mind.
00:31:42My coals.
00:31:44Think he'll turn up?
00:31:47He already has.
00:31:48I'm off.
00:31:49I'm off.
00:31:49I'm off.
00:32:03I'm sorry?
00:32:04What did you say?
00:32:06I made the biscuits you like.
00:32:11That's very kind.
00:32:17Facts are these.
00:32:19The present lease expires next week.
00:32:22Renewal requires our three signatures.
00:32:24I.e., if we don't all sign, the museum closes.
00:32:29In that event, we clear out and sell up and share out the proceeds between father's direct
00:32:34descendants.
00:32:35The three of us, my son and his children will never start home.
00:32:39Father's clear intention in dividing it in so many ways was to ensure that no individual
00:32:44would inherit enough to force closure for their own gain.
00:32:48Father wanted the museum to continue in being.
00:32:50I haven't had one of us understood the man.
00:32:52And of course, if the museum goes, my home goes well.
00:32:54My home goes.
00:32:55The Benson and Swade links this time, Neville.
00:32:57It's a mattress and a gas ring.
00:32:59So we're keeping the DuPain open so you can enjoy the luxury of a flat overlooking Hampstead
00:33:03Eve.
00:33:03That's not what I said.
00:33:04There are flats on the market, maybe not with such a reassuring level of privacy.
00:33:08Meaning?
00:33:08Can we stick to the matter of the lease?
00:33:10You won't split us up on this level.
00:33:12Us?
00:33:12Look, the past is the past.
00:33:14Father's dead.
00:33:14This is a new era.
00:33:15The museum can be whatever we want it to be.
00:33:17Which in practice means whatever he wants it to be.
00:33:19Father's representative on earth.
00:33:21You take no interest, other than foisting your waifs and strays on us as gardeners.
00:33:25Have you told Ryan to expect his P-45?
00:33:28Do you really think running this place will save you from what you've become, Marcus?
00:33:32What have I become?
00:33:33Don't let him do this.
00:33:34Boys.
00:33:35What have I become?
00:33:35Boys!
00:33:43Yes?
00:33:44I thought you'd want to know straight away.
00:33:47Ada Gearing tried to kill herself and her husband.
00:33:50He survived.
00:33:51She didn't.
00:34:01I hope that was worth interrupting the meeting for.
00:34:04The wife of one of my patients killed herself.
00:34:08Well, not your patient, his wife.
00:34:10Anyone else on suicide watch or can we get on?
00:34:15Have some respect.
00:34:16I could say the same to you.
00:34:18Caroline has put a lot of work into keeping this place running.
00:34:20I intend to do the same.
00:34:22Where's your respect for that?
00:34:25Tea and biscuits.
00:34:30Is that it?
00:34:31Discussion over tea and biscuits.
00:34:33Sign the lease.
00:34:34Good old Neville, he always comes around to the end.
00:34:38You can start planning for closure.
00:34:40I'm not signing.
00:34:41I'm not signing that lease.
00:34:42I think I got all the pieces.
00:35:04My mother bought that tea set the week that I was born.
00:35:07And gave it to me the day that I got married.
00:35:09One of the cups is all right.
00:35:10Some of the rest could be mended.
00:35:14Throw it away.
00:35:16I'll leave you two to look up.
00:35:21You'd better start looking for a new job.
00:35:29Muriel thinks Caroline can fix her up with something.
00:35:33But the rest of it...
00:35:34There'll be no gardening today, Ryan.
00:35:38I can't lose this job.
00:35:41And what about the cottage?
00:35:42They can't just throw you out.
00:35:43They won't have any choice.
00:35:45It's your cottage, this.
00:35:46Nobody else's.
00:35:47It's yours.
00:35:48I'm having a word with the doctor when he comes to collect that car tomorrow.
00:35:50It's customary to knock.
00:36:02The minister's secretary phone, sir.
00:36:04Something's come up.
00:36:05He sends his apologies.
00:36:06He's asked Mr Dunlop to do your retirement presentation.
00:36:11Fine.
00:36:11We're going to miss you, sir.
00:36:15We're going to miss you, sir.
00:36:45I'm having a couple of hues, colours with gold and old rose
00:36:48Playing the clouds, trying to drown all of my woes
00:36:52Though things may not look right
00:36:55They all turn out all right
00:36:58If I keep painting the clouds with sunshine
00:37:02When I pretend I'm gay, I never feel that way
00:37:30I'm only painting the clouds with sunshine
00:37:35When I hold back a tear to make a smile appear
00:37:40I'm only painting the clouds with sunshine
00:37:45Making a smile appear
00:37:48Followed with gold and old gold
00:37:51Make a cloud find the sky for my woe
00:37:55Make a cloud find the sky for my woe
00:38:02To make a cloud find the sky for my woe
00:38:09To make a cloud find the sky for my woe
00:43:07Hello?
00:43:09Hello?
00:43:11Hello?
00:43:13Hello?
00:43:15Hello?
00:43:17Hello?
00:43:19Hello?
00:43:21Hello?
00:43:23Hello?
00:43:25Hello?
00:43:27Hello?
00:43:29Hello?
00:43:31Hello?
00:43:33Hello?
00:43:35Hello?
00:43:39Hello?
00:43:41Oh, my God.
00:43:43What is it? Stupid boys!
00:44:13I'm sorry, Ed. Are you all right?
00:44:25I think I am. I wasn't riding. I fell on the ground.
00:44:38It looks like someone's little bonfire.
00:44:43I'm sorry, Ed.
00:45:00Good job!
00:45:02Hey!
00:45:05To be alright.
00:45:07To be alright.
00:45:10Take care.
00:45:12Fire Brigade.
00:45:37Oh, Caroline.
00:45:42It's Tally Clutton at the museum.
00:45:44Yes, I'm sorry.
00:45:46It's about your brother.
00:45:47There's been a terrible fire in the garage.
00:45:49Yes, yes, yes, I've called them.
00:45:51They're coming.
00:45:52I tried to phone Marcus, but he's not there.
00:45:54Can you come?
00:45:55Yes, yes, yes, I'll wait.
00:45:58Oh, I'm here.
00:46:01Oh, I'm here.
00:46:02Oh, I'm here.
00:46:02Oh, I'm here.
00:46:04Oh.
00:46:07Right.
00:46:08I'm here.
00:46:12Oh, Muriel, thank God.
00:46:27You've been on the phone.
00:46:29There's been a terrible fire.
00:46:31It's never no pain.
00:46:34Yes.
00:46:35I'm Clara.
00:46:59She's just coming.
00:47:00Adam, pleased to meet you.
00:47:01Night off from catching killers, then.
00:47:12Well, fingers crossed.
00:47:17Emma, hi.
00:47:22Be good.
00:47:23Or don't be.
00:47:24Holly.
00:47:44Holly.
00:47:44Come on, where are you?
00:47:46Go, go, in there.
00:47:47Whoa, whoa, whoa, whoa, whoa, whoa, whoa.
00:47:48I'm going to have to ask you ladies to leave.
00:47:50We've got detectives and scene of crime officers on the road.
00:47:53Crime?
00:47:54Couldn't it have been a firework?
00:47:55You could make your way to get to your house.
00:47:56I've been trying to tell her that.
00:47:57I just keep thinking there was so much I could have done.
00:48:00There's nothing anyone could have done to you.
00:48:03Come on.
00:48:08How long have you known, Clara?
00:48:09She was rude to you, wasn't she?
00:48:11I knew she'd be rude to you.
00:48:12No, she wasn't.
00:48:14She can be a bit direct.
00:48:16I think she thinks I should be more direct.
00:48:21I see.
00:48:24When it comes to things like this.
00:48:26Meals in restaurants.
00:48:28Well, there you are.
00:48:29I mean, is that what this is?
00:48:31Unless my French has totally deserted me.
00:48:34But it's what else as well, I mean.
00:48:37Meeting your friends.
00:48:39Something more.
00:48:40What's the problem with being direct?
00:48:46No, not a problem.
00:48:49It's...
00:48:50I think Clara is absolutely right.
00:48:54I think it's good to be clear about these things.
00:48:57Meals in restaurants.
00:48:58Meals in restaurants, yes.
00:49:02Meals in restaurants that could also be...
00:49:06Something more?
00:49:10Yeah.
00:49:11So?
00:49:18And my phone's ringing.
00:49:20Can you leave it?
00:49:22It only rings in an emergency.
00:49:24Because what I think I feel, Adam,
00:49:26is that if this is just a meal and a restaurant...
00:49:28I'm sorry, I have to answer it.
00:49:30I'd rather you answer me.
00:49:31I'd rather give you my full attention.
00:49:36Tell me.
00:49:45Yes.
00:49:50Isn't there anybody else available?
00:49:58Okay.
00:50:02I have to go.
00:50:04We've ordered.
00:50:04Can I get you a cab?
00:50:06Can you ask my question?
00:50:08I can't give it the attention it deserves.
00:50:11Not right now.
00:50:13You can't put it down to a one-word answer.
00:50:15Emma, I have to go.
00:50:17Madam?
00:50:18He has to go.
00:50:20Sorry.
00:50:25Eat.
00:50:26It'll do you good.
00:50:28I'll stay here with you tonight.
00:50:30The police will be asking you a lot of questions.
00:50:32You need to think about what you're going to say.
00:50:35I'll just tell them the truth.
00:50:37About the family and so on.
00:50:38Their differences.
00:50:39Leave that to the de Payne's.
00:50:46I stopped the car when he came over.
00:50:48And he wanted to know if I was all right.
00:50:52I know I've seen him before.
00:50:56Heard his voice.
00:50:57Seen his face.
00:50:58It'll probably come back to you.
00:51:08I mean, what about what he said?
00:51:12Someone's lit a bonfire.
00:51:15It's just like the rouse murder from the murder rule.
00:51:18You sure that's what he said?
00:51:19It struck me straight away.
00:51:22Hello?
00:51:24Doors open, please.
00:51:25Sit.
00:51:26I'm so sorry.
00:51:27I want you to tell me everything that happened.
00:51:29Can you face that?
00:51:33Go in, gentlemen.
00:51:34Bruno.
00:51:41I get the impression I spoiled your evening.
00:51:43I hope that's all you've spoiled.
00:51:44If you will, stay on the front line, Adam.
00:51:47MI5.
00:51:48And special branch.
00:51:49The DuPayne Museum, Hampstead Heath.
00:51:57Do you know it?
00:51:58Yes.
00:51:59There's been a murder.
00:52:00Or more accurately, a suspicious death,
00:52:03which the fire investigation officer thinks is murder.
00:52:06A man called Neville DuPayne,
00:52:09burnt to death in his jag in a lock-up at the museum.
00:52:13Looks like someone's thrown petrol over him.
00:52:16Why me?
00:52:16It's a question of the minimum of fuss.
00:52:20Murder brings publicity.
00:52:22What's the MI5 concern?
00:52:24We have a contact there.
00:52:25James Calder-Hale.
00:52:27Acts as a kind of curator.
00:52:29He's ex-foreign office.
00:52:31Expert on the Middle East.
00:52:32Speaks Arabic.
00:52:33One or two dialects.
00:52:35On the payroll?
00:52:36Certain payments are occasionally made.
00:52:39That stays with you, of course.
00:52:41My two D.I.s would need to know.
00:52:43It's as much as I could do to get him to tell you.
00:52:45Is there any particular reason to suppose
00:52:48that this case might compromise Calder-Hale?
00:52:51Murder investigations bring to light
00:52:53all sorts of things happier, undisturbed.
00:52:56But I take it you'd have no objection to my arresting him
00:52:59if he turned out to be the murderer?
00:53:01I think you'll find he has an alibi.
00:53:03Ah.
00:53:05Nothing to stop you starting straight away, I suppose.
00:53:07No.
00:53:10Nothing at all.
00:53:14Bested by a corpse.
00:53:15Shut up.
00:53:20It turned his head.
00:53:23Maybe I'd get to see him more
00:53:24than if I was dead.
00:53:26I got here about five minutes ago, sir.
00:53:39The fire investigation officer's waiting to see you.
00:53:41I asked the dead man's brother, Marcus,
00:53:43to wait inside the house.
00:53:44Now, the fire was discovered
00:53:46by the housekeeper, Tally Clatton.
00:53:47That's her cottage over there,
00:53:49and she's waiting with the receptionist,
00:53:50Muriel Godfrey.
00:53:51They're expecting you.
00:53:52Sir.
00:53:53Get someone to help you search the grounds.
00:53:55It'll have to be done again in daylight,
00:53:57but you never know.
00:53:58Then join me at the scene.
00:53:59Sir.
00:54:06I'm on the duck leash.
00:54:07Anderson.
00:54:07Fire investigation.
00:54:08Not me.
00:54:09I'm trying to keep it.
00:54:12The doors are probably locked,
00:54:14then blown open by the blaze.
00:54:16Empty petrol can.
00:54:20We found the cap.
00:54:21In the back.
00:54:37The seat of the fire's in the head
00:54:38and the upper body,
00:54:39mostly confined to the middle part of the car.
00:54:42Flames caught the soft top,
00:54:43which was up,
00:54:44and then rose to catch the roof light.
00:54:47The panes of the windows probably cracked,
00:54:49giving an inrush of air
00:54:50and an outrush of fire.
00:54:52If they hadn't,
00:54:53the fire might have gone out
00:54:54before anybody noticed.
00:54:56Probably that that blew the doors open.
00:54:58Accident, suicide, all right.
00:55:00Well, there's no accident.
00:55:02And I don't think it's suicide.
00:55:04Petrol suicides don't hurl the can away.
00:55:06Mostly leave it in the footwell.
00:55:08Murderer would have been waiting in the dark.
00:55:10There's no light bulb there.
00:55:12If the bulb had failed,
00:55:13you'd expect it to be in place.
00:55:16The seatbelt's odd, too.
00:55:18The belt's burnt away,
00:55:19but the clip's in place.
00:55:21It fastened it.
00:55:23I've never known that with a suicide before.
00:55:24And he would have had to get out of the car
00:55:26to close the garage doors
00:55:27before he drove off.
00:55:29Could have been instinctive.
00:55:31Could have been the sort
00:55:32that doesn't shut garage doors.
00:55:33There are such people.
00:55:34There's no one in the grounds.
00:55:39No vehicles unaccounted for.
00:55:40Shell over there.
00:55:41It's got a lawnmower,
00:55:42bike, usual garden stuff.
00:55:44No petrol.
00:55:45If we could get back
00:55:47to the driver who knocked you down.
00:55:50It might just be
00:55:52I've seen his photograph.
00:55:54He might just be a sportsman
00:55:56or an actor.
00:55:58I'm sorry.
00:56:00Well, what about
00:56:02the car's registration number?
00:56:03Oh, I think I can remember that.
00:56:07V-K-Y-2-K.
00:56:10I think that's
00:56:11Dr. Dupin's Jaguar.
00:56:20L355RNJ.
00:56:23My fiesta.
00:56:24You're looking straight at it.
00:56:27I'm sorry.
00:56:29It's all right.
00:56:29Might still come back to you.
00:56:31What about you, Miss Godby?
00:56:33Perhaps you'd like to go through
00:56:34what happened since you left the museum.
00:56:36Certainly.
00:56:37I was the last to leave.
00:56:38About half past five.
00:56:40I gave Marie Strickland,
00:56:41she's one of the volunteers,
00:56:42a lift to the Hampstead tube
00:56:43and then I was home
00:56:45ten minutes later.
00:56:46Tally,
00:56:47Mrs. Clutton called about
00:56:49an hour after that
00:56:50and I came straight here.
00:56:51Your phone was engaged
00:56:52when Mrs. Clutton first rang,
00:56:54your home phone.
00:56:55Not engaged, no.
00:56:56I'd left the bedroom receiver
00:56:58off the hook.
00:56:58So you were at home
00:57:00when you took the call,
00:57:01but you took the call
00:57:02on your mobile.
00:57:03Yes.
00:57:05It looks like petrol
00:57:06was used in the fire.
00:57:07Did you keep any on the premises?
00:57:08Oh, um...
00:57:13For the lawnmower,
00:57:15it would have been
00:57:17in the garden shed.
00:57:18When did you last see it?
00:57:20I told Ryan Archer,
00:57:22the gardening boy,
00:57:23that the shed should be locked.
00:57:25But it wasn't?
00:57:27There's no lock.
00:57:28The motorist scene
00:57:33by Mrs. Clutton,
00:57:35did the description
00:57:36mean anything to you?
00:57:37No, it's more what he said.
00:57:39One of the murder cases
00:57:41in the museum
00:57:41is a death by fire.
00:57:43Alfred Arthur Rouse, yes.
00:57:44Yes, and he said...
00:57:45It's not the same.
00:57:47It was an accident.
00:57:51It was an accident!
00:57:58I know that you've had things to do,
00:58:14but we've been waiting
00:58:15for over an hour.
00:58:16Is there any doubt
00:58:16it's our brother in the car?
00:58:18There'll have to be
00:58:18a formal identification,
00:58:20possibly even a DNA test,
00:58:21but I'm afraid there's no reason
00:58:23to doubt that it's him.
00:58:25I'm very sorry.
00:58:28What happened?
00:58:44Petrol was poured
00:58:46over the driver's head
00:58:47and set alight.
00:58:50There's no way
00:58:51it could have been an accident.
00:58:52Was there anything
00:58:58in your brother's life
00:58:59that might have made him
00:59:00want to end it?
00:59:01He wasn't a man
00:59:02to share his problems.
00:59:04He did at the trustees meeting
00:59:08last Wednesday.
00:59:09He did seem more stressed
00:59:10than usual.
00:59:12He was...
00:59:13We've all been concerned
00:59:15about the museum's future.
00:59:16It was work that was getting to him.
00:59:17It wasn't this place.
00:59:19He took too much on
00:59:20at the hospital.
00:59:21He took it too personally.
00:59:24Mrs. Clutton told you
00:59:25about the man
00:59:26she saw leaving the scene.
00:59:28Did she describe him to you?
00:59:29The description
00:59:29could fit thousands of men.
00:59:32Yes, well, it's possible
00:59:33that something
00:59:33might have come to mind.
00:59:34A regular visitor.
00:59:37He was probably parked illegally.
00:59:38Got scared
00:59:39when he saw the fire.
00:59:43When did you last
00:59:43see your brother alive?
00:59:48At the meeting.
00:59:49This evening.
00:59:56I wanted to talk to him
00:59:59about the museum.
01:00:02I went to the hospital
01:00:03where he worked.
01:00:06Did you talk to him?
01:00:08He refused.
01:00:09You weren't at home
01:00:11when Mrs. Clutton called
01:00:13to inform you about the fire.
01:00:16I needed to walk off
01:00:17my frustration.
01:00:19You were the last person
01:00:20to see him alive.
01:00:31When you left him,
01:00:33did you feel that he was
01:00:35dangerously depressed?
01:00:37If I felt that,
01:00:37I wouldn't have left him.
01:00:38I left here at around four
01:00:43and drove to Oxford Street
01:00:44where I did my shopping
01:00:45for the weekend
01:00:46in the food hall
01:00:46at Selfridge's.
01:00:47And no,
01:00:47I didn't keep the receipts.
01:00:49Perhaps we should
01:00:50continue this in the morning.
01:00:53Caroline doesn't mean
01:00:54to be unhelpful.
01:00:55I understand.
01:00:55Your flat is here
01:00:59on the premises.
01:01:00Will you be staying
01:01:00here tonight?
01:01:03No.
01:01:09One last thing.
01:01:11Your brother would come
01:01:12down here on Fridays
01:01:14to pick up the draggy
01:01:14and go away
01:01:15for the weekend.
01:01:17Do you know
01:01:17where he went?
01:01:18He never told us.
01:01:48Do you want me to pick
01:02:03up some coffees
01:02:04en route?
01:02:06Good idea.
01:02:18Right,
01:02:23what do we call
01:02:24the murderer?
01:02:26Vulcan?
01:02:27Got a fire?
01:02:28Got a caffeine.
01:02:30Right.
01:02:31Vulcan it is.
01:02:32Kate?
01:02:34Accident is out.
01:02:36Murder more likely
01:02:37than suicide.
01:02:38Light bulb removed,
01:02:39can of petrol
01:02:40and it's top,
01:02:41et cetera.
01:02:42There's no problem
01:02:43with the time of death.
01:02:44Dupain used to pick up
01:02:45his jag every Friday
01:02:46about six
01:02:47and Mrs. Clutton
01:02:48arrived there
01:02:49shortly after that.
01:02:51So we're looking
01:02:52for somebody
01:02:52who knew
01:02:53Neville Dupain's
01:02:54movements
01:02:54and probably
01:02:56that there was
01:02:56a can of petrol
01:02:57in the unlocked shed.
01:02:58In other words,
01:02:59the family and the staff,
01:03:01they all have the knowledge
01:03:02and the motive.
01:03:03The building
01:03:04used to be
01:03:05in the family.
01:03:05It's owned by
01:03:06a big corporation now
01:03:07and the Dupains
01:03:08lease it.
01:03:09So I don't think
01:03:10there's any great fortune
01:03:11involved there.
01:03:12Marcus and Caroline Dupain
01:03:14wanted to keep
01:03:14the place open
01:03:15and so did the staff
01:03:17presumably
01:03:18as their jobs
01:03:18depended on it.
01:03:19So did their homes
01:03:20in the case
01:03:21of Tully Clutton
01:03:22and Caroline Dupain.
01:03:30I could give you a lift.
01:03:32You could stay at mine.
01:03:34I'm staying at Swatheelings
01:03:35and I'll drive myself.
01:03:38You just couldn't
01:03:39stay away from him,
01:03:40could you?
01:03:40Thinking about it,
01:03:44using a can
01:03:44is not a great way
01:03:45of dumping a lot
01:03:45of petrol on someone.
01:03:46Tip it into a bucket,
01:03:48use that.
01:03:48Chuck in your clothes
01:03:49and your gloves
01:03:50afterwards and get rid
01:03:50of the lot.
01:03:51Finding this driver
01:03:52is a priority.
01:03:53He might have
01:03:54nothing to do with it.
01:03:55Stopping to see
01:03:55if a cyclist is okay
01:03:56just after you've
01:03:57set somebody on fire
01:03:58seems a little contradictory,
01:03:59but he is a gift
01:04:01to the defence
01:04:01if we don't locate him.
01:04:02What about the link
01:04:03with the Rouse case?
01:04:04It looks as if
01:04:04someone's lit a bonfire.
01:04:06Yes, do we believe that?
01:04:07In fact, do we believe
01:04:08in the existence
01:04:08of the motorist?
01:04:09I'm not so sure.
01:04:12Good.
01:04:13Priorities.
01:04:14Interview Neville
01:04:14DuPayne's daughter.
01:04:15Start checking alibis.
01:04:17Yeah.
01:04:17Piers, you could start
01:04:18with Muriel Goddbees.
01:04:19She claims that her phone
01:04:20was off the hook.
01:04:21Get the mobile phone
01:04:22company's records.
01:04:23See where she was
01:04:24when she took that call
01:04:25from Tally Clinton.
01:04:30You're sure you want
01:04:30to stay here tonight?
01:04:34Leave now
01:04:34and I'd be afraid
01:04:35there'd be nothing
01:04:36to come back to.
01:04:40When I looked
01:04:41in the garage
01:04:41and I saw
01:04:42what was there,
01:04:45there was nothing
01:04:46left of him,
01:04:49of Dr. DuPayne.
01:04:52But
01:04:52his spirit
01:04:55was still there.
01:04:57That's what
01:04:58it felt like.
01:05:03And
01:05:04whoever did it
01:05:05a strong sense
01:05:08of them
01:05:08before the fire
01:05:11engines came
01:05:11and the police
01:05:12and the forensic
01:05:13people
01:05:13and the DuPaynes
01:05:15and you.
01:05:19Just me
01:05:20and the doctor
01:05:22and whoever did it.
01:05:26hi, it's Emily,
01:05:36the message.
01:05:36Hi, it's Emily,
01:05:40the message.
01:05:40Emma, um...
01:05:56I'm not good at talking
01:06:02to these things.
01:06:02I'll be in touch.
01:06:04the other one.
01:06:13Oh,
01:06:13I'm not good at it.
01:06:13I'm not good at it.
01:06:15I'm not good at it.
01:06:15Don't look at it.
01:06:16I'm not good at it.
01:06:17I'm not good at it.
01:06:18Oh, I didn't think I'd sleep a wink.
01:06:41Caroline will probably want to stay in the flat tonight.
01:06:44I've just been in to tidy up.
01:06:45I can't believe I've slept so long.
01:07:15Commander Dalgleish?
01:07:16Sarah Dupain?
01:07:17Yeah, I wanted to go in, but the policeman wouldn't let me.
01:07:19We can go in, Mel.
01:07:21My father's flat.
01:07:23Believe me now?
01:07:25He'd never do that to me.
01:07:27He'd never kill himself.
01:07:28Whatever the rest of the family tell you.
01:07:30My mother died last year.
01:07:32I mean, he was a psychiatrist, for Christ's sake.
01:07:34Did he talk to you about anyone who might want to do him harm?
01:07:39Pour petrol on him.
01:07:41Set him alight.
01:07:41No, he didn't.
01:07:42I'm so sorry that we have to ask you these things so soon after his death,
01:07:45but you see, the first few days are crucial.
01:07:51Could you tell us about his relationship with your aunt and uncle?
01:07:55They weren't close.
01:07:56I mean, none of us are close.
01:07:58Me and him, we weren't close.
01:08:01But it was Caroline who broke the news to you.
01:08:04I hadn't spoken to her in a year before that.
01:08:06Where were you when she rang?
01:08:08In the pub.
01:08:10Celebrating packing in my job.
01:08:11Caroline called at about seven, and then I went to Mel's.
01:08:16And you'd been in the pub...
01:08:17Since five.
01:08:18Five.
01:08:21Did your father ever talk to you about the museum?
01:08:24Not much.
01:08:25He was happy to think he might be able to shut it down,
01:08:28but he was in two minds.
01:08:32We talked about that.
01:08:34I wanted the money that would come to me if the place did close.
01:08:37Oh.
01:08:39Did he give you any idea how much that might be?
01:08:42He once said 50,000.
01:08:44Enough to get me away from here for a couple of years.
01:08:47The trips he took at the weekend...
01:08:48Look, I don't know where he went.
01:08:50We didn't talk.
01:08:52You think someone's going to be there forever?
01:08:55Guilty about something.
01:09:03I didn't love him.
01:09:05Not enough.
01:09:0750 grand.
01:09:08How much is that to people like the DuPain?
01:09:11Is that a motive for murder?
01:09:12Check that out.
01:09:13See if the figures add up.
01:09:14Well, this place is worth a lot more than that.
01:09:17Three quarters of a million, I love said.
01:09:19She was an only child.
01:09:21And an orphan now.
01:09:24I can't believe none of them knew where he went every weekend.
01:09:26Well, Piers might get something from the car mechanic,
01:09:29but I think our best bet's the P.A.
01:09:31There's not much a secretary doesn't know about her boss.
01:09:37That, um, thing that Piers said before, sir.
01:09:41About the promotion?
01:09:43About being difficult to talk to.
01:09:46Oh.
01:09:48Forget it.
01:09:48Thank you, Constable.
01:10:00Mr. Carter.
01:10:02Of D.I. Tarrant.
01:10:03Thank you for coming.
01:10:04I'd like to leave the car and follow me, sir.
01:10:05Yes, sir.
01:10:08I couldn't believe it when I heard.
01:10:11Can I have the extension number, please?
01:10:13Yes.
01:10:13Yes.
01:10:13Yes.
01:10:18Thanks.
01:10:21I'll do that.
01:10:23Quarter for a million in savings.
01:10:25Everything organised and up to date.
01:10:28Credit card bills.
01:10:30Showed different hotels and inns every weekend.
01:10:34Gave a lot to charities.
01:10:38Nothing revealing, really.
01:10:40He had a lover.
01:10:41Spare pair of knickers in the drawer.
01:10:43A woman's deodorant in the cabinet.
01:10:45Only female touch in his little male bastion.
01:10:48Maybe she went with him on these weekends.
01:10:51So, did he pick her up or meet her at the museum?
01:10:54Let's talk to the PA.
01:10:55And have someone have a word with Ryan Archer.
01:10:57He hasn't checked in yet.
01:11:09If he had to go, he'd be glad him and the Jag went together.
01:11:12He loved the car, yeah?
01:11:13Took him away.
01:11:14Got the impression he needed that.
01:11:16And you checked it over once a week?
01:11:18Twelve years.
01:11:19He liked it spotless.
01:11:20Dropped it back here Sunday and Monday.
01:11:22And I'd pick it up Tuesday or Wednesday.
01:11:24So you never saw him?
01:11:26Well, sometimes he'd bring it to the workshop on a Monday morning.
01:11:29He might have a word or two if there was a problem.
01:11:31Did he ever talk about where he went?
01:11:33No.
01:11:33I don't know who he was with.
01:11:42How many miles?
01:11:43The weekend.
01:11:44100, 150, 200 tops.
01:11:47And if you picked up the car, presumably you had keys to both the car and the lock-up?
01:11:50Not a copper for nothing.
01:11:51Was the garage always locked?
01:11:53Yeah.
01:11:54Where did you keep the keys?
01:11:55In the key cupboard, in the office, at the workshop.
01:11:58Locked.
01:11:59Unlabeled.
01:12:00Tommy, did you ever get any sense of whether he spent those weekends alone or with someone?
01:12:06From the car?
01:12:07You serviced and cleaned it for 12 years.
01:12:09Nah.
01:12:10I never got any sense out of that car.
01:12:30Hi, it's Emma.
01:12:30Leave a message.
01:12:39Andrew or Faraday?
01:12:55It's true, then.
01:12:59I can't believe you didn't put those people off.
01:13:02How do you think it's going to look?
01:13:03It's because of how it would look that I didn't put them off.
01:13:07We are up and running.
01:13:07They need to know that.
01:13:08And there's the endowment to think of.
01:13:10One hint that we're half cocked and they'll take a painting elsewhere.
01:13:14Your brother's dead.
01:13:16The museum isn't.
01:13:21We were lovers.
01:13:23Till three months ago.
01:13:25Who broke it off?
01:13:27Me.
01:13:30But I think he was relieved.
01:13:35I loved him more than he loved me.
01:13:38And his life always seemed to be crowding in on him.
01:13:44We never had time.
01:13:48Why did you break it off?
01:13:50For the sake of my marriage.
01:13:54Now they're both gone.
01:13:55He left my husband, Malcolm.
01:13:58He saw through me.
01:13:58He saw through me.
01:14:01Would you have any idea where he was last night?
01:14:04Drinking somewhere, probably.
01:14:07Did you ever go with Neville to the museum?
01:14:11He got one of his youth offender patients a gardening job there.
01:14:15Ryan Archer.
01:14:16I went with him on his first day.
01:14:18Youth offender?
01:14:19Neville did a couple of days a month at Feltham.
01:14:21Working with potential suicides.
01:14:25It was something he felt strongly about.
01:14:28And Ryan Archer fell into that category?
01:14:31For a while.
01:14:32Neville felt he'd brought him through it.
01:14:35What was Ryan's conviction for?
01:14:38Um, got a car theft.
01:14:40And you went with him on his first day.
01:14:44So you'd be familiar with the garden and the outbuildings.
01:14:49Is that when Neville died?
01:14:52I have to ask you where you were last night.
01:14:57I was with a friend.
01:15:00I'll need a name.
01:15:02Can you think of anyone who might have wanted to harm Neville?
01:15:08Past patients?
01:15:10Not from here.
01:15:12Um, I could go through the records, but...
01:15:14Yes, I'd appreciate that.
01:15:19He went away most weekends.
01:15:21Did you go with him?
01:15:25Never.
01:15:28He always went on his own.
01:15:31Nights we might have spent together.
01:15:34But he always went alone.
01:15:35It's what kept him sane, he said.
01:15:41But what about me?
01:15:47I'm sure he didn't mean to hurt you.
01:15:49All right.
01:16:00All right.
01:16:02It's our nacho there.
01:16:03Ryan?
01:16:05Ryan!
01:16:13Don't mind me, just come straight through, yeah.
01:16:16I've got visitors, Stu. They're from the Dominions.
01:16:20Marcus insists that we go ahead with it.
01:16:23They're leaving tomorrow.
01:16:25Well, he's in control now, I suppose.
01:16:30Oh, okay.
01:16:33All one passes for it.
01:16:36Not a big fan of pot plants.
01:16:38African violence, apparently.
01:16:40A birthday present from, um, Talley Clutton.
01:16:43They refuse to succumb to my complete indifference.
01:16:47Oh, just shift some of that tendentious bollocks off the chair there, would you?
01:16:51Neville Dupain visited you here a few days ago.
01:16:56Yes, yes. He wanted to clarify what the museum was for.
01:17:00I'm not sure I enlightened him.
01:17:02How will it affect you if the museum closes?
01:17:06To be inconvenient.
01:17:08But I do have a life beyond this place.
01:17:11In any case, I doubt whether Neville would have stuck it out to the end.
01:17:15His sister knew how to play him.
01:17:18Are you saying she would have coerced him?
01:17:21Do you have a brother and sister, Commander?
01:17:25No.
01:17:27No.
01:17:29What about your book?
01:17:31What about it?
01:17:33Murder in the Interwar Years.
01:17:35You have everything on hand here.
01:17:37Kill a man to meet my publisher's deadline?
01:17:39Perhaps poetry publishers are a more terrifying breed.
01:17:43What did you think of Neville Dupain?
01:17:47A psychiatrist with insufficient detachment is never going to be a happy man.
01:17:52Could you tell us where you were between about five and seven yesterday?
01:17:55An alibi.
01:17:58Well, let's be meticulous.
01:18:00By all means.
01:18:014.45, I left my flat in Bedford Square.
01:18:04I drove my motorbike to the dentist in Weymouth Street.
01:18:09He had some work to complete on a crown.
01:18:11I left there at 5.25.
01:18:15I think the receptionist can confirm that.
01:18:17I made some terrible joke about my coronation.
01:18:21I went back to where I'd left my bike and found it had been stolen.
01:18:25Shanks' Pony home, got there about six, phoned the police.
01:18:32They seemed remarkably unconcerned.
01:18:35That is, until now.
01:18:38Is there any information that you exclusively are privy to
01:18:44that you think might help this investigation?
01:18:47It's diplomatically put.
01:18:50The short answer is no.
01:18:54No.
01:19:03Your visitors are here.
01:19:05Oh, thank you, Marie.
01:19:06This is Marie Strickland, one of the volunteers.
01:19:10An amazing woman.
01:19:12S.O.E. agent during the war.
01:19:14Parachuted into France just before D-Day.
01:19:16But the group had a traitor, though rumored to be Marie's lover.
01:19:23All of her associates rounded up and killed.
01:19:28Unpleasantly.
01:19:30My father was in the same line of business.
01:19:33Had his share of their debacle.
01:19:35She talked to you about it.
01:19:37It's drummed into you, you know.
01:19:40Never opened your mouth.
01:19:42Never opened your mouth.
01:19:43Absolutely.
01:19:44The museum in New York.
01:19:45It's a very interesting matter.
01:19:46James.
01:19:47Just coming.
01:19:48Conrad.
01:19:49James Calderhill.
01:19:50This is Conrad.
01:19:51This is as usual.
01:19:52About his alibi, I could check out whether it's possible to do that run on his sort of bike from his dentist to here.
01:20:00Seriously, good talent.
01:20:01I'd like to go straight to the Nash.
01:20:02Oh!
01:20:03Our pride and joy, right by the fire.
01:20:04Oh!
01:20:05Look at that.
01:20:06It was Holloway Nick.
01:20:07Apparently it all went off at Ryan Archer's place.
01:20:08He ran when he saw the uniforms.
01:20:09Did they think to run after him?
01:20:10Did they think to run after him?
01:20:11Oh, no.
01:20:12Oh, no.
01:20:13Look at that.
01:20:14It was Holloway Nick.
01:20:15Apparently it all went off at Ryan Archer's place.
01:20:16He ran when he saw the uniforms.
01:20:17Did they think to run after him?
01:20:18I didn't say.
01:20:19And I got another little space on the wall.
01:20:20Well, Conrad, I was wondering.
01:20:21No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
01:20:23The pride and joy, right by the fire.
01:20:24Oh!
01:20:25Look at that.
01:20:26It was Holloway Nick.
01:20:27Apparently it all went off at Ryan Archer's place.
01:20:28He ran when he saw the uniforms.
01:20:29Did they think to run after him?
01:20:30I didn't say.
01:20:31And I got another little space on the wall.
01:20:32Well, Conrad, I was wondering.
01:20:33Angela Faraday wants to see you, sir.
01:20:34They're holding at the cordon.
01:20:35Did you contact her husband?
01:20:36My friend says he's hit the bottle since he walked out,
01:20:37so I'm halfway through a little bit.
01:20:38I'm going to go.
01:20:39I'm going to go.
01:20:40I'm going to go.
01:20:41I'm going to go.
01:20:42I'm going to go.
01:20:43I'm going to go.
01:20:44I'm going to go.
01:20:45I'm going to go.
01:20:46Conraday wants to see you, sir.
01:20:47They're holding at the cordon.
01:20:48Did you contact her husband?
01:20:50My friend says he's hit the bottle since he walked out,
01:20:52so I'm halfway through a list of possible pubs.
01:20:54Neville Dupain used to work in Nottingham,
01:20:56and the Health Authority is going to dig up his past treatment records,
01:20:59but he goes back a bit.
01:21:00I call the Hales, about to start a tour.
01:21:02Break the pub crawl.
01:21:03Join the party.
01:21:05Thank you, sir.
01:21:07We'll start here on the ground floor,
01:21:10with the history room.
01:21:11Then sports and entertainment.
01:21:14Then murder exhibits.
01:21:16We'll leave the library to the last.
01:21:18Miss Marcus has asked me to describe the murder exhibits for you.
01:21:22It's more my line than his.
01:21:31Neville's notes on Ryan Archer.
01:21:44He's your friend forever after.
01:21:46Yeah.
01:21:47You got it.
01:21:48Excuse me.
01:21:49Yeah.
01:21:50Yes, I have to say here that this display isn't my favorite.
01:21:54You can see the cutting edge of European design
01:21:56hasn't really permeated through to the somewhat stodgy,
01:21:59the British article.
01:22:02Well, I'll leave you in James Calderhale's hands
01:22:05for the grisly subject matter of room four.
01:22:09This way, please.
01:22:26I just needed to see where he died.
01:22:29You asked me why I ended it with Neville.
01:22:43I ended it because I thought he'd refuse.
01:22:47He'd suddenly see what he'd be missing.
01:22:51What a fool he'd be to let me go.
01:22:53But he didn't.
01:22:57The iron bar in the display cabinet is not the weapon used.
01:23:02A weapon was never found.
01:23:04But a similar one was missing from the house.
01:23:07This police photograph is interesting.
01:23:10Note Wallis' Macintosh, drenched with blood,
01:23:14tucked against his dead wife's right shoulder.
01:23:18It's very stale in here, James.
01:23:19Could we open a window?
01:23:20An interesting point concerning the mores of the age.
01:23:26This was the only case where the Church of England
01:23:29authorised a special prayer
01:23:32that the appeal court should be guided
01:23:34to the right verdict, acquittal.
01:23:40I particularly like the last sentence,
01:23:43and you shall pray for the learned councils,
01:23:46for Sovereign Lord the King.
01:23:48That they may be faithful to the Christian injunction
01:23:52of the Apostle Paul, Judge nothing,
01:23:55until God brings to light
01:23:57hidden the things of darkness,
01:23:59and makes manifest the councils of the heart.
01:24:03I couldn't get Neville out of my head.
01:24:06Whatever I did, he was there.
01:24:08You regretted the breakdown?
01:24:12I kept thinking.
01:24:14If I could just get through to him,
01:24:17if I could just go away with him just once,
01:24:20then everything would be...
01:24:21You weren't at your friend's last night, me.
01:24:26I was coming here to meet Neville.
01:24:30James, what's this over here?
01:24:34Oh, precisely the kind of tin trunk used by the poor
01:24:39when they travelled.
01:24:41It would have held virtually everything
01:24:43that the prostitute Violet Kay owned.
01:24:46And in the end,
01:24:48it was her coffin.
01:24:50Will people be staying for lunch?
01:24:53I could make sandwiches.
01:24:54Oh, thanks.
01:24:55I'll give you a hand.
01:25:06Has someone...
01:25:14James!
01:25:16This is a British leg pull!
01:25:25James!
01:25:26James!
01:25:27James!
01:25:28James!
01:25:30James!
01:25:31James!
01:25:32James!
01:25:33James!
01:25:34James!
01:25:35James!
01:25:38Sir!
01:25:40What?
01:25:42James!
01:25:46James!
01:25:47Is it a body?
01:25:49I think so.
01:25:51James!
01:25:53I think so.
01:26:09What are they?
01:26:13Lannets.
01:26:16Copycat murders.
01:26:22No!
01:26:23No!
01:26:24No!
01:26:25No!
01:26:26No!
01:26:27No!
01:26:28No!
01:26:29No!
01:26:30No!
01:26:31No!
01:26:32No!
01:26:33No!
01:26:34No!
01:26:35No!
01:26:37No!
01:26:38No!
01:26:39No!
01:26:40No!
01:26:41No!
01:26:42No!
01:26:43No!
01:26:44No!
01:26:45No!
01:26:46No!
01:26:47No!
01:26:48No!
01:26:49No!
01:26:50No!
01:26:51I'll see you next time.
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