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HE MOANS IN PAIN | 0:00:41 | 0:00:43 | |
Oh, Charlie! | 0:00:43 | 0:00:45 | |
I leave you for one minute. | 0:00:45 | 0:00:47 | |
Don't fuss. I'm all right. | 0:00:47 | 0:00:49 | |
Oh, yeah, you look it(!) | 0:00:49 | 0:00:51 | |
There's...there's a book. | 0:00:51 | 0:00:53 | |
You didn't pack it. I need it. | 0:00:53 | 0:00:56 | |
It doesn't look bad, but I'd best get it checked over. | 0:00:56 | 0:00:59 | |
Please. | 0:00:59 | 0:01:01 | |
Please. | 0:01:03 | 0:01:05 | |
Yeah, I need a doctor for a home visit. | 0:01:08 | 0:01:11 | |
Yes, if it is not urgent, Doctor Haskey can call round | 0:01:12 | 0:01:16 | |
when he is finished here. | 0:01:16 | 0:01:18 | |
Yes, all right. Thank you. Goodbye. | 0:01:18 | 0:01:20 | |
Well, Ted Abbott's looking well. | 0:01:37 | 0:01:39 | |
You wouldn't think he was 83, would you? | 0:01:39 | 0:01:42 | |
-I'm sorry? -You gave me the wrong notes, Mrs Tembe. | 0:01:42 | 0:01:45 | |
And earlier you cut off that call, | 0:01:45 | 0:01:47 | |
not to mention the double-booking of Mrs Drake. | 0:01:47 | 0:01:49 | |
So, come on. What's up? | 0:01:49 | 0:01:51 | |
I'm sorry. I've just been a little pre-occupied. | 0:01:52 | 0:01:55 | |
There is an addition to your house calls. | 0:01:55 | 0:01:58 | |
Lorna Petty, a health worker, called to say | 0:01:58 | 0:02:01 | |
that Charlie Doyle has a head injury. It is not life-threatening. | 0:02:01 | 0:02:04 | |
OK, I'll head on over as soon as the cavalry... | 0:02:04 | 0:02:06 | |
Speaking of which, you must be the temp? | 0:02:06 | 0:02:09 | |
Sandra. | 0:02:09 | 0:02:10 | |
Right, I'm off out. You have a nice afternoon. | 0:02:10 | 0:02:13 | |
Sandra, I'm going to leave you | 0:02:13 | 0:02:14 | |
in the very capable hands of this young lady. | 0:02:14 | 0:02:16 | |
We're doomed! | 0:02:16 | 0:02:18 | |
We're not doomed. | 0:02:18 | 0:02:19 | |
You all ready to deal with the student body? | 0:02:21 | 0:02:23 | |
-I think so. -Remember, if in doubt, refer them on. | 0:02:23 | 0:02:26 | |
Sure. I'll be fine. | 0:02:26 | 0:02:28 | |
It'll be an afternoon of STIs, and study fatigue and spots. | 0:02:28 | 0:02:32 | |
Don't forget all the caffeine overdoses. I'll see you later. | 0:02:32 | 0:02:35 | |
And then he took me up this hill | 0:02:39 | 0:02:42 | |
and you could see for miles. | 0:02:42 | 0:02:45 | |
We re-enacted the first dance from our wedding. | 0:02:45 | 0:02:48 | |
Aw, that is so romantic. | 0:02:48 | 0:02:50 | |
He could be making it up of course, I don't know. | 0:02:50 | 0:02:53 | |
Well, it's still romantic. | 0:02:53 | 0:02:54 | |
I mean, imagine remembering all the details of all those dates. | 0:02:54 | 0:02:57 | |
Yeah, that is because he's a police officer. | 0:02:57 | 0:02:59 | |
They're trained to remember every detail. | 0:02:59 | 0:03:02 | |
I wish I could remember one! | 0:03:02 | 0:03:04 | |
Yeah, well, even if you can't, it shows you how much he loves you. | 0:03:04 | 0:03:07 | |
He's being very sweet and thoughtful. | 0:03:07 | 0:03:09 | |
Forget sweet and thoughtful! | 0:03:09 | 0:03:11 | |
He's so sexy... | 0:03:11 | 0:03:13 | |
..and I'm enjoying being spoilt. | 0:03:15 | 0:03:17 | |
I don't think Rob's going to see it like that. | 0:03:18 | 0:03:23 | |
There we go. | 0:03:23 | 0:03:24 | |
That should be fine now, Mr Doyle. | 0:03:24 | 0:03:26 | |
Will we be much longer? | 0:03:26 | 0:03:28 | |
I've got things to do after I've dropped him. | 0:03:28 | 0:03:31 | |
And people say that caring is dead in the medical profession! | 0:03:31 | 0:03:34 | |
What? | 0:03:34 | 0:03:35 | |
You've no idea what I do every day sat in your cosy office. | 0:03:35 | 0:03:38 | |
Have you ever had to sift through a hoover bag | 0:03:38 | 0:03:41 | |
to find some old dear's wedding ring? | 0:03:41 | 0:03:43 | |
Have you ever had to fish false teeth out of a U-bend? | 0:03:43 | 0:03:46 | |
I wonder if she's about to do three prostate examinations in a row? | 0:03:46 | 0:03:49 | |
Don't waste your breath. | 0:03:49 | 0:03:50 | |
He doesn't know what day of the week it is. | 0:03:50 | 0:03:53 | |
Do you, Charlie? | 0:03:53 | 0:03:54 | |
What? | 0:03:54 | 0:03:56 | |
See? | 0:03:56 | 0:03:57 | |
Has your care worker even bothered to explain what's happening today? | 0:03:59 | 0:04:04 | |
You're going to be going to the Pinebrook Care Home just for a bit. | 0:04:04 | 0:04:07 | |
You'll still be close so your mates can come and visit. | 0:04:07 | 0:04:10 | |
Hey, you'll be fine. I promise! | 0:04:10 | 0:04:12 | |
She ran off. | 0:04:12 | 0:04:14 | |
I told them she ran off with the man | 0:04:16 | 0:04:18 | |
who taught her at the college. | 0:04:18 | 0:04:20 | |
Who ran off? | 0:04:20 | 0:04:21 | |
But she didn't. | 0:04:21 | 0:04:24 | |
She didn't run off. | 0:04:24 | 0:04:27 | |
My wife didn't run off. | 0:04:27 | 0:04:29 | |
I did away with her. | 0:04:29 | 0:04:32 | |
I buried her body. | 0:04:32 | 0:04:33 | |
I buried it in the foundations of the house. | 0:04:33 | 0:04:37 | |
Right, we all set then? | 0:04:37 | 0:04:39 | |
We might need a couple more minutes. | 0:04:39 | 0:04:42 | |
This is a nice gallery. | 0:04:47 | 0:04:49 | |
It is a nice gallery. Yes. | 0:04:50 | 0:04:52 | |
Have you been here before? | 0:04:59 | 0:05:01 | |
No. | 0:05:01 | 0:05:02 | |
Have you been here before? | 0:05:04 | 0:05:06 | |
So...do you like art? | 0:05:21 | 0:05:24 | |
Yes! That's why we're here. | 0:05:24 | 0:05:26 | |
I like art. | 0:05:26 | 0:05:28 | |
I do not like anything too modern. | 0:05:28 | 0:05:30 | |
Where is the art in a pattern of coloured dots? | 0:05:30 | 0:05:32 | |
Or an animal in a tank? | 0:05:32 | 0:05:34 | |
No, I like the Impressionists. | 0:05:34 | 0:05:38 | |
So, Manet? Degas? | 0:05:38 | 0:05:40 | |
And Picasso. | 0:05:40 | 0:05:41 | |
Well... | 0:05:42 | 0:05:44 | |
Picasso was slightly later, of course. | 0:05:44 | 0:05:47 | |
Of course. | 0:05:49 | 0:05:50 | |
I meant Pissarro. | 0:05:50 | 0:05:52 | |
# You say Pissarro | 0:05:54 | 0:05:55 | |
# I say Picasso | 0:05:55 | 0:05:57 | |
# So...so, let's call the whole thing... # | 0:05:57 | 0:06:01 | |
So? | 0:06:07 | 0:06:09 | |
I had one old girl | 0:06:09 | 0:06:10 | |
that thought Gareth Malone and Lulu came round for tea. | 0:06:10 | 0:06:14 | |
Charlie's got dementia. | 0:06:14 | 0:06:15 | |
That means he can spout a load of old rubbish, yeah? | 0:06:15 | 0:06:18 | |
But it's often based on actual memories. | 0:06:18 | 0:06:20 | |
What if this is something that actually happened? | 0:06:20 | 0:06:22 | |
You may have all day. But I haven't got time for this. | 0:06:22 | 0:06:25 | |
I've got to go. | 0:06:25 | 0:06:26 | |
Not without my say-so. | 0:06:26 | 0:06:27 | |
What? | 0:06:27 | 0:06:28 | |
You called me over here. | 0:06:28 | 0:06:29 | |
As the senior medical practitioner in the room, | 0:06:29 | 0:06:32 | |
it's up to me to say when he's ready to leave. | 0:06:32 | 0:06:33 | |
You're kidding me? | 0:06:33 | 0:06:35 | |
I've got to get him to say more. | 0:06:35 | 0:06:37 | |
If you think he did it, just phone the police. Hand him over! | 0:06:37 | 0:06:40 | |
What? How long have you been a care nurse?! | 0:06:40 | 0:06:42 | |
If he has murdered her, it's not really our problem, is it? | 0:06:42 | 0:06:45 | |
I'm not going to put him through that. | 0:06:45 | 0:06:47 | |
Not without more proof. | 0:06:47 | 0:06:48 | |
SHE SIGHS | 0:06:48 | 0:06:51 | |
This gets better and better. | 0:06:56 | 0:06:58 | |
It's going to be something glamorous today. I can feel it. | 0:07:02 | 0:07:05 | |
Somewhere I've got to dress up. | 0:07:05 | 0:07:06 | |
Well, you never know. | 0:07:06 | 0:07:07 | |
Hello! | 0:07:09 | 0:07:11 | |
So, where are we going? | 0:07:11 | 0:07:12 | |
What's this? | 0:07:15 | 0:07:17 | |
You taking her to a sewage farm? | 0:07:17 | 0:07:19 | |
A sewage farm with a leaky roof? | 0:07:22 | 0:07:25 | |
Go on, you've got to guess. Not you two. | 0:07:25 | 0:07:29 | |
It's not the Seychelles. | 0:07:29 | 0:07:31 | |
I'll give you one clue. It is a fairly long drive. | 0:07:31 | 0:07:34 | |
It's not a Yorkshire theme park? | 0:07:34 | 0:07:36 | |
Oh! Come on, you'll see. | 0:07:36 | 0:07:39 | |
Come on! | 0:07:39 | 0:07:41 | |
Not a word. | 0:07:41 | 0:07:42 | |
Have fun! | 0:07:42 | 0:07:45 | |
How could you lose him? | 0:07:47 | 0:07:48 | |
Me? | 0:07:48 | 0:07:49 | |
I'm not the one who left the door unlocked. | 0:07:49 | 0:07:51 | |
He can't have gone that far. | 0:07:51 | 0:07:53 | |
Looks like I've arrived here in the nick of time. | 0:07:53 | 0:07:55 | |
What? | 0:07:55 | 0:07:56 | |
Don't want the old boy scarpering | 0:07:56 | 0:07:58 | |
before he settles the 30 notes he owes me. | 0:07:58 | 0:08:00 | |
-Vince. Vince Collingham. -Doctor Haskey. | 0:08:00 | 0:08:02 | |
And I know this young lady. | 0:08:02 | 0:08:04 | |
Always lights up a room... | 0:08:04 | 0:08:06 | |
each time she leaves it. | 0:08:06 | 0:08:08 | |
Eh, Morticia? So, can I see His Lordship? | 0:08:08 | 0:08:11 | |
There might be a bit of a problem with that. | 0:08:11 | 0:08:14 | |
Oh, no. I know he's got a mind like a sieve. | 0:08:14 | 0:08:16 | |
That's why I got him to sign this | 0:08:16 | 0:08:19 | |
when I subbed him the money for his shopping. | 0:08:19 | 0:08:22 | |
It's not that. It's just that... Mr Doyle isn't quite... | 0:08:22 | 0:08:24 | |
available. | 0:08:24 | 0:08:26 | |
What's he on about? | 0:08:26 | 0:08:27 | |
Charlie's wandered off. | 0:08:27 | 0:08:29 | |
You're not telling me you've managed to lose him, are you? | 0:08:29 | 0:08:32 | |
No, no, we've got everything in hand. | 0:08:32 | 0:08:34 | |
It doesn't look like it. | 0:08:34 | 0:08:36 | |
A vulnerable old fella seems to have disappeared on your watch, | 0:08:36 | 0:08:40 | |
Doctor Haskett. | 0:08:40 | 0:08:41 | |
Yeah, it's Doctor Haskey. | 0:08:41 | 0:08:43 | |
And actually you could help us by staying here | 0:08:43 | 0:08:45 | |
and waiting for him in case he comes back. | 0:08:45 | 0:08:47 | |
While we split up and go and look for him. Good idea? | 0:08:47 | 0:08:49 | |
Suppose. | 0:08:49 | 0:08:51 | |
Text me so, I've got your number. Thanks. | 0:08:51 | 0:08:53 | |
I'll drive around the block. | 0:08:53 | 0:08:55 | |
Unbelievable! | 0:08:57 | 0:08:59 | |
Found him. | 0:09:08 | 0:09:10 | |
He's on Edwin Street. | 0:09:10 | 0:09:11 | |
Mr Doyle? | 0:09:13 | 0:09:15 | |
Mr Doyle. It's Doctor Haskey. | 0:09:17 | 0:09:19 | |
I spoke to you at the house? | 0:09:20 | 0:09:22 | |
Yeah. | 0:09:22 | 0:09:24 | |
This is it. | 0:09:24 | 0:09:25 | |
No, it's back up the road. | 0:09:27 | 0:09:29 | |
I can do it. | 0:09:29 | 0:09:30 | |
The foundations are deep. | 0:09:30 | 0:09:32 | |
I've mixed concrete before. Sand and cement. | 0:09:32 | 0:09:35 | |
Be set by morning. | 0:09:35 | 0:09:38 | |
Did you build this house, Mr Doyle? | 0:09:38 | 0:09:39 | |
The trick is to keep turning the mixture, see? | 0:09:39 | 0:09:42 | |
Not too much water. | 0:09:44 | 0:09:45 | |
Keep it turning, | 0:09:45 | 0:09:47 | |
mixing. | 0:09:47 | 0:09:49 | |
Mixing. | 0:09:49 | 0:09:50 | |
Where is your wife? | 0:09:50 | 0:09:52 | |
Charlie! | 0:09:52 | 0:09:55 | |
You can't go running off! What you playing at? | 0:09:55 | 0:09:57 | |
This might be where he buried her. | 0:09:57 | 0:09:59 | |
What? | 0:09:59 | 0:10:00 | |
Well, that's it. We'll have to call the Old Bill then. | 0:10:00 | 0:10:02 | |
I don't...I don't know. | 0:10:02 | 0:10:04 | |
Come on, what's stopping you? | 0:10:04 | 0:10:06 | |
They have an impressive collection of pre-Raphaelite art. | 0:10:17 | 0:10:21 | |
One of the largest in the country. | 0:10:21 | 0:10:24 | |
Mrs Tembe...? | 0:10:24 | 0:10:26 | |
Indeed, there are over 1,500 paintings | 0:10:26 | 0:10:30 | |
and drawings from that period. | 0:10:30 | 0:10:32 | |
Yeah. | 0:10:33 | 0:10:34 | |
This one is by Ford Madox Brown. | 0:10:34 | 0:10:38 | |
The Last Of England. | 0:10:38 | 0:10:41 | |
Clever move, isn't it? | 0:10:41 | 0:10:43 | |
Doing portraits of people in hats. | 0:10:43 | 0:10:46 | |
Saves you a lot of time on drawing hair. | 0:10:46 | 0:10:48 | |
Oh...yeah, yeah... | 0:10:48 | 0:10:50 | |
it also means the sitter can be in and out quicker. | 0:10:50 | 0:10:53 | |
Everyone's happier! | 0:10:53 | 0:10:55 | |
Does she want him to kiss her? Or... | 0:11:05 | 0:11:08 | |
I don't know. | 0:11:11 | 0:11:14 | |
Go on, then, my hopes are suitably lowered. | 0:11:22 | 0:11:26 | |
Clay pigeon shooting. | 0:11:26 | 0:11:28 | |
-SHE LAUGHS INCREDULOUSLY -I've never done that before. | 0:11:28 | 0:11:31 | |
You have. | 0:11:31 | 0:11:32 | |
Jack was really little. | 0:11:32 | 0:11:34 | |
And we were going through that whole phase of no sleep | 0:11:34 | 0:11:36 | |
and the endless cycle of feeds and nappies. | 0:11:36 | 0:11:39 | |
We hadn't been out in ages. | 0:11:39 | 0:11:40 | |
And I won it as a prize in the police raffle. | 0:11:40 | 0:11:43 | |
What's wrong with dinner and a dance? | 0:11:43 | 0:11:45 | |
Think it was the first time we'd been out together as a couple | 0:11:45 | 0:11:48 | |
post Jack. | 0:11:48 | 0:11:50 | |
GUNFIRE | 0:11:50 | 0:11:52 | |
We spent a couple of hours in the fresh air blowing things up. | 0:11:52 | 0:11:55 | |
And it made me feel better. | 0:11:55 | 0:11:57 | |
What about me? | 0:11:57 | 0:11:58 | |
You on the other hand didn't want to go. | 0:11:58 | 0:12:01 | |
You were rude to the instructor | 0:12:01 | 0:12:02 | |
and you moaned about the cold. | 0:12:02 | 0:12:04 | |
In fact, I don't think you were happy till you got back into the car. | 0:12:04 | 0:12:07 | |
Looking forward to this one then. | 0:12:07 | 0:12:09 | |
Pardon the bluntness, Vince. | 0:12:12 | 0:12:14 | |
But what happened to Charlie's wife? | 0:12:14 | 0:12:17 | |
Oh, she ran off with the guy teaching her pottery. | 0:12:17 | 0:12:21 | |
Oh. | 0:12:21 | 0:12:22 | |
Did anybody ever see her again? | 0:12:22 | 0:12:24 | |
Been reading Charlie's old newspapers, have you? | 0:12:25 | 0:12:29 | |
He was a person of interest for a while. | 0:12:29 | 0:12:32 | |
But nothing ever stuck. | 0:12:32 | 0:12:35 | |
As if he hadn't been through enough with her. | 0:12:35 | 0:12:38 | |
I mean, the fact no-one ever heard from her again | 0:12:38 | 0:12:41 | |
made it seem a bit of mystery. | 0:12:41 | 0:12:44 | |
Did YOU think it was a mystery? | 0:12:44 | 0:12:46 | |
Well... | 0:12:46 | 0:12:48 | |
we always wondered, | 0:12:48 | 0:12:49 | |
me and the wife, but... | 0:12:49 | 0:12:53 | |
it was just speculation. | 0:12:53 | 0:12:55 | |
Well, Charlie says he killed her. | 0:12:55 | 0:12:58 | |
-Can I have a word? -Doc... | 0:13:01 | 0:13:03 | |
-Oi! -We need to have a patient conference. | 0:13:05 | 0:13:07 | |
Or more accurately, you need to listen to what I'm thinking. | 0:13:07 | 0:13:10 | |
Oh, it's nice to feel valued. | 0:13:10 | 0:13:11 | |
Good, we know the police were involved. | 0:13:11 | 0:13:13 | |
Charlie's taken us to where he apparently left the body. | 0:13:13 | 0:13:16 | |
Even his old friend wondered whether or not he'd done it. | 0:13:16 | 0:13:18 | |
These aren't just ramblings any more. | 0:13:18 | 0:13:20 | |
Let's just call the police and I can get on with my life, yeah? | 0:13:20 | 0:13:23 | |
How does he just wander onto a building site and bury a body? | 0:13:23 | 0:13:25 | |
You can't do that unless... | 0:13:25 | 0:13:28 | |
-Was Charlie a builder? -No. He was a shop fitter. | 0:13:28 | 0:13:31 | |
He wouldn't have access then? | 0:13:31 | 0:13:32 | |
Maybe it isn't true. | 0:13:32 | 0:13:34 | |
You're right. | 0:13:34 | 0:13:35 | |
Charlie wasn't a builder. | 0:13:35 | 0:13:37 | |
But I was. | 0:13:37 | 0:13:39 | |
And back in the '80s Charlie managed some sites for me | 0:13:39 | 0:13:42 | |
while I was up north. | 0:13:42 | 0:13:44 | |
Was one of those sites on Edwin Street? | 0:13:44 | 0:13:46 | |
I think you should have gone for a 20-, not a 12-gauge. | 0:13:52 | 0:13:55 | |
Is 20 bigger? | 0:13:55 | 0:13:56 | |
No, smaller. Lighter. Less recoil. | 0:13:56 | 0:13:58 | |
Oh, no. I want the same as you. | 0:13:58 | 0:14:00 | |
Don't moan when your arms turn to jelly. | 0:14:00 | 0:14:03 | |
-OK, Karen. If you'd like to take your gun. -Thank you. | 0:14:03 | 0:14:06 | |
How does that feel? | 0:14:06 | 0:14:07 | |
Yeah, it's fine. | 0:14:07 | 0:14:09 | |
Well, there's only one of us trained as a police marksman, | 0:14:09 | 0:14:12 | |
that's all I'm saying. | 0:14:12 | 0:14:13 | |
All right. If you'd like to take the gun. | 0:14:13 | 0:14:15 | |
Thanks, you don't have to worry about me, mate. | 0:14:15 | 0:14:17 | |
I've used one loads of times. | 0:14:17 | 0:14:19 | |
Karen! Keep inside the cage. | 0:14:19 | 0:14:21 | |
I'm sorry. | 0:14:21 | 0:14:23 | |
Whoa! | 0:14:23 | 0:14:25 | |
Yeah, yeah. | 0:14:25 | 0:14:26 | |
It's actually quite light when you get used to it. | 0:14:26 | 0:14:28 | |
Unless you're shooting. Keep it pointing down. | 0:14:28 | 0:14:31 | |
And not at humans! | 0:14:31 | 0:14:32 | |
I can't remember for sure if he was there | 0:14:34 | 0:14:36 | |
when the foundations were laid down. | 0:14:36 | 0:14:39 | |
But he was certainly managing the site from the off. | 0:14:40 | 0:14:43 | |
If the police need to talk to me, | 0:14:45 | 0:14:47 | |
Morticia knows where I live. | 0:14:47 | 0:14:49 | |
Still not my name. | 0:14:49 | 0:14:50 | |
I don't know whether to report it or not. | 0:14:52 | 0:14:55 | |
Come on. He's admitted doing it. | 0:14:55 | 0:14:57 | |
He had a motive. He had access. | 0:14:57 | 0:14:59 | |
There's more at stake here than you getting to your next appointment. | 0:14:59 | 0:15:02 | |
The only proof we've got is Charlie's confession. | 0:15:02 | 0:15:05 | |
Everything else is circumstantial. | 0:15:05 | 0:15:06 | |
Sounds pretty convincing to me. | 0:15:06 | 0:15:09 | |
There's only one person who knows for sure. | 0:15:09 | 0:15:11 | |
What are you trying to do? | 0:15:29 | 0:15:31 | |
Talking to you about art. | 0:15:31 | 0:15:33 | |
Yes. I'm sorry... | 0:15:36 | 0:15:38 | |
I am sorry. | 0:15:39 | 0:15:41 | |
I am not very good at this. | 0:15:41 | 0:15:43 | |
Perhaps, it was a bad idea. | 0:15:43 | 0:15:46 | |
I am trying. | 0:15:46 | 0:15:49 | |
It's just that I have never done anything like this before. | 0:15:49 | 0:15:53 | |
It's... | 0:15:53 | 0:15:54 | |
difficult not to think about... | 0:15:54 | 0:15:57 | |
What I've done? | 0:15:57 | 0:15:59 | |
I just thought that if were looking at paintings | 0:16:00 | 0:16:05 | |
it would be easier until we got to know each other. | 0:16:05 | 0:16:07 | |
Maybe, that's the problem. | 0:16:09 | 0:16:11 | |
You know me...about me, but... | 0:16:12 | 0:16:15 | |
well, I don't know anything about you. | 0:16:15 | 0:16:17 | |
Well...well, there is nothing to know. | 0:16:17 | 0:16:19 | |
Where do you work, for instance? | 0:16:21 | 0:16:23 | |
I don't even know that. | 0:16:23 | 0:16:25 | |
No, no, go on, I don't know. | 0:16:25 | 0:16:26 | |
Are you still married? | 0:16:26 | 0:16:28 | |
Well, I'm really not that interesting. | 0:16:28 | 0:16:31 | |
What about your house? What's that like? | 0:16:31 | 0:16:33 | |
It is just normal, really. | 0:16:33 | 0:16:35 | |
Is it big? Is it a small? A flat? Or...? | 0:16:35 | 0:16:37 | |
It is just normal. | 0:16:37 | 0:16:39 | |
Oh, well... | 0:16:42 | 0:16:45 | |
You don't want to tell me, do you? | 0:16:45 | 0:16:46 | |
No. | 0:16:46 | 0:16:48 | |
Well, I... It is just that... | 0:16:48 | 0:16:51 | |
Perhaps we should just give up. | 0:16:54 | 0:16:56 | |
What's the internet say? | 0:17:04 | 0:17:06 | |
Absolutely nothing. | 0:17:06 | 0:17:08 | |
I can't find a thing about whether confessions | 0:17:08 | 0:17:10 | |
from dementia patients are admissible in court. | 0:17:10 | 0:17:12 | |
I suppose their stories could change every time. | 0:17:12 | 0:17:15 | |
All right. Let's suppose he is guilty. | 0:17:15 | 0:17:18 | |
All his life he's kept this secret. | 0:17:18 | 0:17:20 | |
And it's only now that his mind is falling apart | 0:17:20 | 0:17:23 | |
that the barriers come tumbling down and the truth spills out. | 0:17:23 | 0:17:26 | |
I suppose we'd better hope he has another moment where he makes sense. | 0:17:26 | 0:17:29 | |
Else, I'm never going home, am I? | 0:17:29 | 0:17:30 | |
Pull. | 0:17:30 | 0:17:33 | |
HE FIRES TWICE | 0:17:33 | 0:17:36 | |
It is tough. | 0:17:39 | 0:17:41 | |
So, don't worry if you don't get them. | 0:17:41 | 0:17:43 | |
OK. | 0:17:43 | 0:17:44 | |
Pull. | 0:17:47 | 0:17:49 | |
SHE FIRES TWICE | 0:17:49 | 0:17:52 | |
SHE LAUGHS HYSTERICALLY | 0:17:52 | 0:17:56 | |
How could I ever not love this? | 0:17:56 | 0:17:58 | |
Sorry. | 0:17:58 | 0:17:59 | |
Do you remember what you said earlier, Mr Doyle? | 0:17:59 | 0:18:01 | |
Is the car here? | 0:18:01 | 0:18:03 | |
We're all keen to see Headley. | 0:18:03 | 0:18:06 | |
We've all of us been waiting. | 0:18:06 | 0:18:08 | |
No. No, this was about your wife. | 0:18:08 | 0:18:10 | |
The picnic's been packed, you see? | 0:18:10 | 0:18:12 | |
All ready to go. | 0:18:12 | 0:18:13 | |
You looked after the house on Edwin Street, didn't you? | 0:18:15 | 0:18:18 | |
When your friend Vince was building the house. | 0:18:18 | 0:18:20 | |
Yes...going to be a jolly time. | 0:18:20 | 0:18:23 | |
The police asked you all about it, didn't they? | 0:18:23 | 0:18:26 | |
The others will be here soon. | 0:18:26 | 0:18:27 | |
-Any minute now. -Charlie. | 0:18:27 | 0:18:29 | |
What did you do to your wife? | 0:18:29 | 0:18:31 | |
My wife? | 0:18:38 | 0:18:40 | |
Right, I've juggled all my appointments, | 0:18:40 | 0:18:42 | |
but we've really got to go now. | 0:18:42 | 0:18:44 | |
I was just getting another... telling off. | 0:18:44 | 0:18:46 | |
Come on, Charlie. We're going. | 0:18:46 | 0:18:49 | |
I guess we'll never know. | 0:18:50 | 0:18:51 | |
Actually, Luther, | 0:18:53 | 0:18:55 | |
I think we will. | 0:18:55 | 0:18:57 | |
"Flesh In The Foundations - a gripping thriller. | 0:19:01 | 0:19:04 | |
"Can DI Walsh find out who buried a woman in a building site, | 0:19:04 | 0:19:07 | |
"before the killer strikes again?" | 0:19:07 | 0:19:09 | |
He was reading it when you arrived. | 0:19:09 | 0:19:11 | |
Come on. | 0:19:11 | 0:19:13 | |
Pull. | 0:19:21 | 0:19:24 | |
HE FIRES TWICE | 0:19:24 | 0:19:27 | |
Could you show me again? | 0:19:29 | 0:19:30 | |
OK. Looking straight down the barrel... | 0:19:30 | 0:19:32 | |
How many more times do you need to be told | 0:19:32 | 0:19:34 | |
how to hold the gun properly? | 0:19:34 | 0:19:36 | |
That's what he's here for. | 0:19:36 | 0:19:37 | |
-Thanks ever so much you, Paolo. -OK. | 0:19:37 | 0:19:39 | |
Paolo. | 0:19:39 | 0:19:41 | |
I know what you're doing. Trying to put me off | 0:19:41 | 0:19:43 | |
with your distractions and your flirting. | 0:19:43 | 0:19:46 | |
I don't need dirty tricks to beat you. | 0:19:46 | 0:19:47 | |
That's why you were waving it around earlier. | 0:19:47 | 0:19:49 | |
-You were lulling me... -Lulling? | 0:19:49 | 0:19:51 | |
..into a false sense of security. | 0:19:51 | 0:19:53 | |
Who do you think I am, some kind of devious mastermind? | 0:19:53 | 0:19:56 | |
Get over yourself. | 0:19:56 | 0:19:58 | |
Pull! | 0:20:00 | 0:20:01 | |
SHE FIRES TWICE | 0:20:02 | 0:20:05 | |
I love blowing things up! | 0:20:06 | 0:20:08 | |
We call them acquired memories! | 0:20:12 | 0:20:14 | |
He reads the book. | 0:20:14 | 0:20:15 | |
It combines with his own memories of his wife leaving, | 0:20:15 | 0:20:17 | |
and his time managing the site, | 0:20:17 | 0:20:19 | |
you mix them all together, what do you get? | 0:20:19 | 0:20:21 | |
Murder confession. | 0:20:21 | 0:20:22 | |
Well done, Columbo. | 0:20:22 | 0:20:24 | |
Mr Doyle, do you want to take the book with you? | 0:20:24 | 0:20:26 | |
I think it's caused enough damage, don't you? | 0:20:26 | 0:20:28 | |
And one other thing. Delete my number. | 0:20:28 | 0:20:31 | |
Why would I want to call you? | 0:20:31 | 0:20:32 | |
Maybe, I shouldn't have told you everything about me. | 0:20:49 | 0:20:55 | |
Oh, no, that wouldn't be right. | 0:20:55 | 0:20:59 | |
I should have planned it better. | 0:20:59 | 0:21:01 | |
If I'd have worked out things to talk about, we might have got on. | 0:21:01 | 0:21:04 | |
You work out things to talk about? | 0:21:04 | 0:21:07 | |
I get shy and then flustered and then I forget otherwise. | 0:21:07 | 0:21:11 | |
I guess that makes me sound even more weird. | 0:21:11 | 0:21:13 | |
Well... | 0:21:13 | 0:21:15 | |
I must be weird, too. | 0:21:15 | 0:21:17 | |
If it is any consolation, | 0:21:19 | 0:21:22 | |
it did not help. | 0:21:22 | 0:21:23 | |
Art. Letherbridge. Christianity. | 0:21:24 | 0:21:27 | |
You didn't do Christianity. | 0:21:30 | 0:21:32 | |
The other two went so badly. | 0:21:32 | 0:21:34 | |
That's exactly the sort of thing I'd write. | 0:21:34 | 0:21:36 | |
And sometimes if I have a difficult phone call, | 0:21:36 | 0:21:39 | |
I write bullet points. | 0:21:39 | 0:21:41 | |
I do that, too! | 0:21:41 | 0:21:43 | |
Ah, well. See, we do have things in common. | 0:21:43 | 0:21:45 | |
Our faith... | 0:21:45 | 0:21:46 | |
and bullet points. | 0:21:46 | 0:21:47 | |
It's a start. | 0:21:49 | 0:21:50 | |
Yes. | 0:21:50 | 0:21:52 | |
Yes, it is a start. | 0:21:52 | 0:21:54 | |
SHE FIRES AND GIGGLES | 0:21:56 | 0:21:59 | |
Erm, remind me again. | 0:22:02 | 0:22:04 | |
Which one of us is in double figures? | 0:22:04 | 0:22:06 | |
And which of us has three? | 0:22:06 | 0:22:09 | |
It's my bad back, isn't it? | 0:22:10 | 0:22:12 | |
Normally, it would be clay carnage up there with me around. | 0:22:12 | 0:22:15 | |
A grand total of three! | 0:22:15 | 0:22:17 | |
How can you be so good at this | 0:22:17 | 0:22:18 | |
when your eyesight's more shocking than mine. | 0:22:18 | 0:22:22 | |
It's good fun, though, isn't it? | 0:22:22 | 0:22:24 | |
Yeah, it is. | 0:22:25 | 0:22:28 | |
Thanks, guys. | 0:22:29 | 0:22:31 | |
What you doing? | 0:22:31 | 0:22:32 | |
It's over. | 0:22:32 | 0:22:34 | |
Oh, no! I've just got into my stride. | 0:22:34 | 0:22:36 | |
You told them to cut it short on purpose | 0:22:39 | 0:22:41 | |
just to save you getting a hiding. | 0:22:41 | 0:22:43 | |
You are joking. | 0:22:43 | 0:22:44 | |
Your beginners' luck was just about to end. | 0:22:44 | 0:22:47 | |
Ooh... Sounds like somebody's angling for a rematch. | 0:22:47 | 0:22:50 | |
Bring it on. | 0:22:50 | 0:22:52 | |
SHE LAUGHS | 0:22:52 | 0:22:53 | |
I hoped I wouldn't be seeing you again. | 0:23:01 | 0:23:04 | |
Why you leaving me messages? | 0:23:04 | 0:23:06 | |
When I got back, I took a proper look at the book. | 0:23:06 | 0:23:09 | |
I don't understand. | 0:23:09 | 0:23:10 | |
I hadn't noticed the name of the author before. | 0:23:10 | 0:23:13 | |
"Flesh In The Foundations - a novel by Edwin Street." | 0:23:13 | 0:23:17 | |
That's the same as... | 0:23:19 | 0:23:21 | |
Yeah. It's the name of the street where he said he buried the body. | 0:23:21 | 0:23:25 | |
That's an odd coincidence, isn't it? | 0:23:25 | 0:23:27 | |
It's not a coincidence. | 0:23:27 | 0:23:28 | |
It's a pseudonym. | 0:23:28 | 0:23:30 | |
I looked it up on the internet. | 0:23:30 | 0:23:32 | |
It seems our Charlie Doyle wrote one long-forgotten novel. | 0:23:32 | 0:23:35 | |
Those memories didn't come from the book. | 0:23:35 | 0:23:38 | |
They went into one. | 0:23:38 | 0:23:40 | |
That's why he was so keen to get it off the shelf. | 0:23:41 | 0:23:43 | |
So, have you called the Old Bill? | 0:23:43 | 0:23:46 | |
I suppose we'd better be there when they get to the care home. | 0:23:46 | 0:23:48 | |
-I'll do it. -Hold up. | 0:23:48 | 0:23:52 | |
Look, he's confessed to you. | 0:23:52 | 0:23:55 | |
And by the sound of it this is a thinly veiled confession. | 0:23:55 | 0:23:58 | |
He's wanted to get caught ever since he's done it. | 0:23:58 | 0:24:00 | |
But what would be the point? | 0:24:00 | 0:24:02 | |
He's got to be punished. | 0:24:02 | 0:24:03 | |
And would he even know he's being punished? | 0:24:03 | 0:24:06 | |
The trial would be a farce. | 0:24:06 | 0:24:08 | |
It's not just about Charlie, is it? | 0:24:08 | 0:24:10 | |
What about his wife's relatives? They deserve justice. | 0:24:10 | 0:24:13 | |
All those years of wondering. | 0:24:13 | 0:24:16 | |
So, what, we let him get away with it? | 0:24:16 | 0:24:18 | |
MUSIC: "Secret Of Life" by James Taylor | 0:24:22 | 0:24:24 | |
Oh, it's a shame it had to end so soon. | 0:24:53 | 0:24:55 | |
Who saying it's ended? | 0:24:55 | 0:24:59 | |
Oh, you do know how to treat a girl. | 0:24:59 | 0:25:01 | |
We could at least have gone to a cafe? | 0:25:03 | 0:25:05 | |
It's what we had after we'd been here shooting before. | 0:25:05 | 0:25:08 | |
You are a tightwad. | 0:25:10 | 0:25:13 | |
It's all we could afford. | 0:25:13 | 0:25:15 | |
We sat in our old battered car, in the rain, | 0:25:15 | 0:25:19 | |
eating cheap bread and a couple of apples on the turn. | 0:25:19 | 0:25:23 | |
And we talked about our cheeky little boy | 0:25:23 | 0:25:27 | |
and how nice it had been to spend some time on our own, | 0:25:27 | 0:25:30 | |
even if it had only been for a couple of hours. | 0:25:30 | 0:25:33 | |
Did we? | 0:25:33 | 0:25:35 | |
And look at us now. | 0:25:35 | 0:25:38 | |
Two grown-up kids, who have both flown the nest. | 0:25:38 | 0:25:41 | |
It seems like we've gone from there to here, | 0:25:42 | 0:25:45 | |
in the blink of an eye. | 0:25:45 | 0:25:47 | |
Well, I can't remember before, | 0:25:49 | 0:25:52 | |
but I've had a really lovely afternoon. Thank you. | 0:25:52 | 0:25:55 | |
That's great. | 0:25:55 | 0:25:56 | |
You are really... | 0:25:57 | 0:26:00 | |
..sweet and thoughtful, aren't you? | 0:26:00 | 0:26:01 | |
A face I'll never forget. Nicola Smithson! | 0:26:16 | 0:26:19 | |
You managed to lose the puppy fat! | 0:26:19 | 0:26:22 | |
A doctor, a lawyer and an airline pilot. | 0:26:22 | 0:26:24 | |
Perfect role models for our pupils. | 0:26:24 | 0:26:27 | |
Someone should cut her down to size. | 0:26:27 | 0:26:29 | |
Well, it's going to be like being on Concorde! | 0:26:29 | 0:26:31 | |
It's the closest we'll ever get. | 0:26:31 | 0:26:33 | |
We like to send out a clear message - | 0:26:33 | 0:26:35 | |
bad behaviour will always be met with zero tolerance. | 0:26:35 | 0:26:38 |