Browse content similar to Daemons' Roost. Check below for episodes and series from the same categories and more!
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DRAMATIC MUSIC | 0:00:02 | 0:00:04 | |
SQUAWKING | 0:00:05 | 0:00:08 | |
Ladies and gentlemen, | 0:00:13 | 0:00:15 | |
welcome to this movie theatre - | 0:00:15 | 0:00:18 | |
the doors of which, you will note, are now locked. | 0:00:18 | 0:00:20 | |
-DOORS SLAM -So you may abandon | 0:00:20 | 0:00:23 | |
any hope of escape. | 0:00:23 | 0:00:24 | |
I see you have a predilection for the macabre. | 0:00:26 | 0:00:31 | |
So allow me to whet your appetite for a tale of terror | 0:00:31 | 0:00:34 | |
that will challenge your very concept of evil. | 0:00:34 | 0:00:39 | |
In a wild and ravaged corner of this country, | 0:00:40 | 0:00:43 | |
more than a century-and-a-half ago, | 0:00:43 | 0:00:46 | |
legendary was the name of Sir Jacob Surtees, | 0:00:46 | 0:00:50 | |
a heartless nobleman of dark Satanic powers. | 0:00:50 | 0:00:53 | |
Assuming the guise of a hideous phantasm, | 0:00:55 | 0:00:58 | |
he would stalk his prey. | 0:00:58 | 0:01:00 | |
Sating his thirst for flesh in a most vile and twisted manner. | 0:01:06 | 0:01:11 | |
To a ghastly theatre of perverted practice | 0:01:13 | 0:01:16 | |
and torture were conveyed the objects of his lust | 0:01:16 | 0:01:19 | |
and their ill-fated lovers... | 0:01:19 | 0:01:21 | |
No! | 0:01:21 | 0:01:22 | |
..where, it was averred by those who were forced to watch, | 0:01:22 | 0:01:26 | |
he would consign each victim to ungodly oblivion. | 0:01:26 | 0:01:31 | |
SCREAMING | 0:01:43 | 0:01:44 | |
To the end of his days, | 0:01:55 | 0:01:56 | |
no rational means or human agency could ever account for the horrors | 0:01:56 | 0:02:03 | |
that took place in that chamber - | 0:02:03 | 0:02:06 | |
as you too, my friends, will discover when you encounter | 0:02:06 | 0:02:11 | |
the Brides Of The Damned. | 0:02:11 | 0:02:14 | |
OK, you'll be ready to stretch your legs now, probably. | 0:03:41 | 0:03:45 | |
Rain seems to be easing off a bit, so... | 0:03:45 | 0:03:48 | |
Only, I'd as soon not go any further. | 0:03:48 | 0:03:50 | |
It's just, erm, this place, you know? | 0:03:51 | 0:03:54 | |
Obviously, don't want to believe everything you hear, but... | 0:03:54 | 0:03:58 | |
BIRDS CAW, THUNDER RUMBLES | 0:03:58 | 0:03:59 | |
No worries. Erm, what do we owe you? | 0:04:01 | 0:04:04 | |
I know it sounds stupid, but... | 0:04:04 | 0:04:07 | |
No, no, no. We understand. There you go. | 0:04:07 | 0:04:09 | |
DOORBELL RINGS | 0:04:38 | 0:04:39 | |
15 years of nightmares. | 0:04:47 | 0:04:49 | |
GASPING | 0:04:51 | 0:04:53 | |
I suppose this was never going to be easy. | 0:04:59 | 0:05:02 | |
Hey, remember the mantra? | 0:05:02 | 0:05:04 | |
It's just bricks and cement... | 0:05:04 | 0:05:07 | |
and a shitload of Victorian superstition. | 0:05:07 | 0:05:09 | |
As houses go, it's as safe as... | 0:05:12 | 0:05:15 | |
Argh! Ah! | 0:05:15 | 0:05:16 | |
What the hell?! You all right? | 0:05:16 | 0:05:18 | |
-Whoa, whoa, whoa, whoa. -Give me a break! -Sorry, sorry. | 0:05:18 | 0:05:21 | |
-That was NOT supposed to happen. -God almighty. Stephen? | 0:05:21 | 0:05:24 | |
The masonry up there, I think. | 0:05:24 | 0:05:26 | |
-Talk about a deathtrap. -It's seen better days. | 0:05:26 | 0:05:29 | |
ECHOING SCREAMING | 0:05:29 | 0:05:31 | |
HE SIGHS | 0:05:45 | 0:05:47 | |
Who was it said, "Every time Nathan Clore directed a film, | 0:05:48 | 0:05:52 | |
"it was a turkey shoot"? | 0:05:52 | 0:05:53 | |
Er, some smartarse wordsmith. | 0:05:55 | 0:05:58 | |
HE CLEARS HIS THROAT | 0:05:58 | 0:06:00 | |
Oh! Of course. This is, er... | 0:06:03 | 0:06:07 | |
A consequence of his most recent aneurysm | 0:06:07 | 0:06:09 | |
has been a near-total shutdown of the body's neurological | 0:06:09 | 0:06:12 | |
and motor functions. | 0:06:12 | 0:06:14 | |
But he CAN still hear. | 0:06:14 | 0:06:16 | |
And his eyes, Mr Belkin, I should warn you, | 0:06:22 | 0:06:24 | |
are very much alive. | 0:06:24 | 0:06:26 | |
Erm... | 0:06:32 | 0:06:33 | |
I always thought the only way I could deal with what happened | 0:06:33 | 0:06:38 | |
was to put as much distance between the two of us as possible. | 0:06:38 | 0:06:42 | |
But then I suppose you grow up, | 0:06:46 | 0:06:48 | |
realise the futility of denial. | 0:06:48 | 0:06:51 | |
And when I got your letter two weeks ago... | 0:06:52 | 0:06:55 | |
Your stepfather had so much he wanted to say to you. | 0:06:57 | 0:07:01 | |
It was barely three days after he wrote that. | 0:07:01 | 0:07:03 | |
It's beyond cruel, the way things have worked out. | 0:07:06 | 0:07:09 | |
"The time has finally come, for you to learn the truth." | 0:07:09 | 0:07:13 | |
Somewhere in this house, | 0:07:17 | 0:07:19 | |
if we look hard enough, | 0:07:19 | 0:07:21 | |
we'll get to unlock the past. | 0:07:21 | 0:07:23 | |
God help us... | 0:07:25 | 0:07:27 | |
to live with what we find. | 0:07:27 | 0:07:29 | |
CHURCH BELLS CHIME | 0:07:33 | 0:07:35 | |
Hello, is that Laszlo Hasselhoff, of Hasselhoff Hassle-Free Removals? | 0:07:35 | 0:07:41 | |
It's Jonathan Creek. | 0:07:41 | 0:07:43 | |
Yeah, this text you've sent me. | 0:07:43 | 0:07:45 | |
"Job number 640C 2B confirmed." | 0:07:45 | 0:07:49 | |
Does that mean you're confirming job number 640C 2B, | 0:07:49 | 0:07:53 | |
or that job number 640C is still awaiting process? | 0:07:53 | 0:07:58 | |
In spite of the fact, I notice, | 0:07:58 | 0:07:59 | |
that my cheque for the deposit cleared 11 days ago. | 0:07:59 | 0:08:02 | |
Creek. | 0:08:04 | 0:08:05 | |
C-R-E-E... | 0:08:05 | 0:08:08 | |
Yes, all right, put Zoltan on. | 0:08:08 | 0:08:11 | |
RADIO: House Of Fun by Madness | 0:08:11 | 0:08:13 | |
'Hello. | 0:08:13 | 0:08:15 | |
-'Speaking. No. No, no...' -How about this? | 0:08:15 | 0:08:17 | |
Oh, perfect! | 0:08:17 | 0:08:19 | |
With the front turned up, maybe. | 0:08:19 | 0:08:21 | |
'Can I...can I stop you there?' | 0:08:21 | 0:08:23 | |
-Oh, I know what I meant to say to you, Polly. -Mm? | 0:08:23 | 0:08:26 | |
My other half, last week, was doing a job at this big, old house, | 0:08:26 | 0:08:30 | |
erm, Daemons' Roost, did he say was the name of it? | 0:08:30 | 0:08:33 | |
Reckoned there'd been all sorts of strange and unexplained stuff | 0:08:33 | 0:08:37 | |
gone on there over the years. | 0:08:37 | 0:08:39 | |
Owner's on his last legs now, | 0:08:39 | 0:08:41 | |
and the step-daughter's come back to take over the property. | 0:08:41 | 0:08:44 | |
Well, straightaway, of course, I thought of Jonathan. | 0:08:44 | 0:08:47 | |
Sounded just the sort of thing he might be inter... | 0:08:47 | 0:08:49 | |
Yes! Er, are you sure that's going to fit on like that, Nina? | 0:08:49 | 0:08:52 | |
Maybe a bit of stitching, to keep it in place? | 0:08:52 | 0:08:55 | |
Friday morning, they're saying now. | 0:08:55 | 0:08:56 | |
I'll believe that when I see it. Ruddy cowboys. | 0:08:56 | 0:08:58 | |
Well, I don't know why we have to see it. | 0:08:58 | 0:09:00 | |
I thought the whole point of downsizing | 0:09:00 | 0:09:02 | |
was to have a good declutter, get rid of the past - | 0:09:02 | 0:09:04 | |
yours as well as mine. | 0:09:04 | 0:09:06 | |
Load of old junk from the windmill. | 0:09:06 | 0:09:07 | |
Can you believe it's taken five years to sell that thing? | 0:09:07 | 0:09:10 | |
How he thinks it's all going to fit in this place...? | 0:09:10 | 0:09:13 | |
Right, I think all we need now is a needle and thread. | 0:09:13 | 0:09:16 | |
Ooh, my sewing box is out there on the shelf. | 0:09:16 | 0:09:19 | |
If you want to go and pick some cotton, I think we'll be there. | 0:09:19 | 0:09:21 | |
-Are you out of your tiny mind?! -What's your problem? | 0:09:23 | 0:09:26 | |
In this day and age?! You'll get us all arrested! | 0:09:26 | 0:09:28 | |
-Well, I only told her to go and pick some cotton... -All right! Just... | 0:09:28 | 0:09:31 | |
Sorry about that. Have you met my wife, Senator Barry Goldwater? | 0:09:31 | 0:09:34 | |
See what I have to live with? | 0:09:34 | 0:09:36 | |
And, erm, this is looking very... | 0:09:38 | 0:09:40 | |
He's got no idea. | 0:09:40 | 0:09:42 | |
It's the Scarecrow Carnival. | 0:09:43 | 0:09:45 | |
Organised every summer, by the Reverend Wendell Wilkie, | 0:09:45 | 0:09:48 | |
-in Amblesham. -Oh. -Parish newsletter? | 0:09:48 | 0:09:50 | |
Big fan of yours, of course. He's always saying he'd love to meet you. | 0:09:50 | 0:09:54 | |
£50 prize for the funniest entry? You should give it a go. | 0:09:54 | 0:09:57 | |
Give you a chance to lighten up for a change. | 0:09:57 | 0:10:00 | |
Enter into the community spirit. | 0:10:00 | 0:10:02 | |
I don't think so. | 0:10:04 | 0:10:06 | |
No, no, I can see you definitely, | 0:10:10 | 0:10:12 | |
in her eyes. | 0:10:12 | 0:10:13 | |
So this would've been the last Christmas before, er...? | 0:10:18 | 0:10:21 | |
HE CLEARS HIS THROAT | 0:10:21 | 0:10:22 | |
Why, Phillipa... | 0:10:27 | 0:10:30 | |
after 15 years of silence does the man who packed me off | 0:10:30 | 0:10:34 | |
to a foster home decide it's time to play at being a parent again? | 0:10:34 | 0:10:37 | |
Tell me. | 0:10:38 | 0:10:40 | |
Certain corners of his life were so sensitive. | 0:10:40 | 0:10:43 | |
What happened to your mother and the children, | 0:10:45 | 0:10:47 | |
obviously he couldn't bring himself to share with me. | 0:10:47 | 0:10:50 | |
I so wish I could help you, Alison, but... | 0:10:54 | 0:10:57 | |
And you've had your own tragic loss to deal with, as I understand? | 0:11:00 | 0:11:04 | |
I mean, forgive me, I've no desire to... | 0:11:09 | 0:11:11 | |
Wallow in all the gory details... | 0:11:11 | 0:11:15 | |
of how my first wife was poisoned to death? | 0:11:15 | 0:11:17 | |
HE CLEARS HIS THROAT | 0:11:17 | 0:11:19 | |
Yes, it's fair to say, Miss Teller, | 0:11:22 | 0:11:24 | |
life's been a bit of a train wreck for both of us. | 0:11:24 | 0:11:26 | |
The main thing is we've found each other now | 0:11:26 | 0:11:28 | |
and whatever we have to face from here on, we face together. | 0:11:28 | 0:11:32 | |
SHE GASPS | 0:11:39 | 0:11:41 | |
"Qui olim iussit daemonia." | 0:12:05 | 0:12:09 | |
"Who once commanded devils." | 0:12:11 | 0:12:13 | |
Yeah, we've both seen the film. | 0:12:13 | 0:12:14 | |
All that stuff in the dungeon, seriously camped up for effect. | 0:12:14 | 0:12:18 | |
But based on source material? | 0:12:18 | 0:12:20 | |
Contemporary accounts, from all those women who witnessed it | 0:12:21 | 0:12:24 | |
with their own eyes, who had no reason to lie? | 0:12:24 | 0:12:27 | |
Oh, she saw something from that window. | 0:12:34 | 0:12:36 | |
What did she see? | 0:12:38 | 0:12:40 | |
Something in this place that took her away from me. | 0:12:40 | 0:12:44 | |
That took both my sisters. | 0:12:45 | 0:12:47 | |
The truth, he said, Stephen - how do we get to the truth? | 0:12:48 | 0:12:51 | |
That guy who sorted things out for YOU! | 0:12:54 | 0:12:56 | |
No. Different circumstances. | 0:12:56 | 0:12:58 | |
There was a fresh crime scene, hard evidence, | 0:12:58 | 0:13:00 | |
clues to pick through. | 0:13:00 | 0:13:02 | |
But he turned the whole case on its head when no-one else could see it. | 0:13:02 | 0:13:04 | |
What was his name again? | 0:13:04 | 0:13:07 | |
WEATHER FORECAST ON RADIO | 0:13:07 | 0:13:09 | |
'25, perhaps, but in the south it looks like clouds and rain. | 0:13:09 | 0:13:12 | |
'Hovering around 15 or so.' | 0:13:12 | 0:13:13 | |
DOORBELL RINGS | 0:13:13 | 0:13:15 | |
Don't worry, I haven't come to baptise you! | 0:13:18 | 0:13:20 | |
Mr Creek? Wendell Wilkie - St Hugh's of Amblesham. | 0:13:20 | 0:13:23 | |
I should think your hair nearly caught fire, did it, yesterday? | 0:13:23 | 0:13:26 | |
-Excuse me? -The way your ears were burning. | 0:13:26 | 0:13:28 | |
Your friend Nina and I - did she tell you? | 0:13:28 | 0:13:31 | |
I'm your biggest fan! | 0:13:31 | 0:13:32 | |
When I found out you were right here on my doorstep... | 0:13:32 | 0:13:34 | |
"Well, pop round, pay him a call," she said, | 0:13:34 | 0:13:36 | |
"He won't mind, he's a lovely gent!" So, er, here I am. | 0:13:36 | 0:13:40 | |
God bless you. | 0:13:42 | 0:13:43 | |
Oh, sorry - mustn't talk shop! | 0:13:43 | 0:13:45 | |
So, what are you up to at the moment, Jonathan? | 0:13:48 | 0:13:50 | |
Anything exciting on the horizon? | 0:13:50 | 0:13:52 | |
Any juicy locked-room mysteries I should know about? | 0:13:52 | 0:13:54 | |
No, it all tends to be fairly quiet these days... | 0:13:54 | 0:13:56 | |
Cos that WAS a classic, wasn't it? Satan's Chimney. | 0:13:56 | 0:13:59 | |
Spoiler alert - the old descending ceiling. | 0:13:59 | 0:14:03 | |
You don't get cases like that any more. | 0:14:03 | 0:14:05 | |
So, er, what would actually be your personal favourite, then? | 0:14:05 | 0:14:08 | |
The corpse that climbed up the cellar steps... | 0:14:08 | 0:14:10 | |
the vanishing skeleton - have to be top of my list. | 0:14:10 | 0:14:12 | |
Anything with an empty tomb, you can't go wrong. | 0:14:12 | 0:14:15 | |
As the apostle said to the heretic! | 0:14:15 | 0:14:17 | |
But, no, got to come clean - there was a purpose to my visit. | 0:14:19 | 0:14:23 | |
I'm sure you'll remember that horrible business - | 0:14:23 | 0:14:25 | |
a while back now - in the House Of Monkeys? | 0:14:25 | 0:14:28 | |
Poor old scientist, ended up with a Samurai sword through his middle. | 0:14:28 | 0:14:31 | |
And, of course, the guy they put away for it - | 0:14:31 | 0:14:33 | |
by the name of Patrick Tyree - thanks to your endeavours, | 0:14:33 | 0:14:37 | |
I've got to know quite well over the years, through my prison visits. | 0:14:37 | 0:14:40 | |
Nasty piece of work, you might say. Well, yes, he was, | 0:14:40 | 0:14:43 | |
but no man who finds God is beyond contrition and repentance. | 0:14:43 | 0:14:47 | |
And I tell you what - today, you wouldn't recognise him. | 0:14:47 | 0:14:50 | |
The monster in his breast is vanquished. | 0:14:50 | 0:14:52 | |
His soul has been cleansed. | 0:14:52 | 0:14:54 | |
And, you know, the last thing he said to me, Jonathan, | 0:14:54 | 0:14:56 | |
before he was granted parole - | 0:14:56 | 0:14:58 | |
how grateful he was to you, for giving him the chance to | 0:14:58 | 0:15:01 | |
reflect on his crimes, and redeem his sins. | 0:15:01 | 0:15:04 | |
It just goes to show - even a man like that can finally learn | 0:15:04 | 0:15:07 | |
the meaning of kindness, compassion, and humanity. | 0:15:07 | 0:15:11 | |
-IN FOREIGN ACCENT: -Easy now, watch how you go with that. | 0:15:11 | 0:15:14 | |
It's OK, I've got it. | 0:15:14 | 0:15:16 | |
This guy, I don't know what his problem is, | 0:15:16 | 0:15:19 | |
but let's not give him something else to complain about. | 0:15:19 | 0:15:22 | |
-There you go. -Want to see how it works? | 0:15:54 | 0:15:56 | |
-Go on. -Yeah. I think it... Does it go in here somewhere? | 0:15:56 | 0:16:00 | |
Stop messing about, boys! Come on, we're behind! | 0:16:00 | 0:16:03 | |
We're against the clock. Come on, chop chop. | 0:16:03 | 0:16:05 | |
Let's get this wrapped up. | 0:16:05 | 0:16:06 | |
Two-and-a-half hours of nonstop monologue. | 0:16:10 | 0:16:13 | |
Not since the heyday of the British sitcom | 0:16:13 | 0:16:15 | |
has the Funny Vicar been so unfunny. | 0:16:15 | 0:16:17 | |
And then when he got on to your magic career and said he had | 0:16:17 | 0:16:19 | |
a little conjuring trick of his own to show us... | 0:16:19 | 0:16:21 | |
Oh! Cutting your finger with a cake knife - that was genius! | 0:16:21 | 0:16:24 | |
Totally stopped him in his tracks. Well done. | 0:16:24 | 0:16:26 | |
What do you mean, "genius"? I very nearly sliced my fin... | 0:16:26 | 0:16:28 | |
TOILET FLUSHES | 0:16:28 | 0:16:30 | |
Now then, yes! | 0:16:30 | 0:16:32 | |
I was going to impress you with my little party piece, wasn't I? | 0:16:32 | 0:16:35 | |
It's a variation on an old routine, but quite fun. | 0:16:35 | 0:16:38 | |
Now, did I see a needlework box around here somewhere? | 0:16:38 | 0:16:42 | |
Ah, yes, if I could just borrow some of these | 0:16:42 | 0:16:44 | |
nice ivory-coloured buttons... | 0:16:44 | 0:16:46 | |
Oh, yes, I was going to put those on a blouse I just bought. | 0:16:46 | 0:16:48 | |
Never fear! They'll be safe as houses - trust me. | 0:16:48 | 0:16:51 | |
Park over there. | 0:17:00 | 0:17:01 | |
So, everything goes in shed, OK? Let's move it. | 0:17:04 | 0:17:07 | |
And now, together with a length of cotton thread, | 0:17:09 | 0:17:11 | |
I shall place them all in my mouth, so... | 0:17:11 | 0:17:14 | |
You want to get behind and pull. | 0:17:16 | 0:17:18 | |
-Pull! -Argh! -This weight. | 0:17:18 | 0:17:21 | |
-Careful! -What's in this thing?! | 0:17:22 | 0:17:25 | |
MUFFLED SHOUTS FROM OUTSIDE | 0:17:27 | 0:17:29 | |
Watch it! | 0:17:29 | 0:17:31 | |
It's going, watch! Argh! | 0:17:31 | 0:17:33 | |
SPLUTTERS | 0:17:33 | 0:17:35 | |
Oh, God! | 0:17:35 | 0:17:37 | |
What the hell are they playing at out there?! | 0:17:37 | 0:17:39 | |
Now, erm, all is not lost. | 0:17:42 | 0:17:44 | |
You will get them back, I promise. | 0:17:44 | 0:17:46 | |
Er, what I'll do, the minute I get home... | 0:17:46 | 0:17:48 | |
No! Thank you, Mr Wilkie, there's no need. I'll get some more. | 0:17:48 | 0:17:51 | |
-Er, will you excuse me a sec? -Of course. | 0:17:51 | 0:17:53 | |
PHONE RINGS | 0:17:56 | 0:17:58 | |
'Hello, sorry we're not here at the moment. | 0:17:58 | 0:17:59 | |
'Please leave a message and we'll get back to you as soon as we can.' | 0:17:59 | 0:18:03 | |
Hello, this is a message for Jonathan Creek. | 0:18:03 | 0:18:06 | |
You won't know me, my name's Alison Belkin. | 0:18:06 | 0:18:09 | |
Erm, you helped my husband, Stephen, six years ago, | 0:18:09 | 0:18:12 | |
when his first wife was killed. | 0:18:12 | 0:18:13 | |
I don't know if you remember the so-called | 0:18:15 | 0:18:17 | |
"Striped Unicorn Affair" at all. | 0:18:17 | 0:18:19 | |
Only... | 0:18:20 | 0:18:22 | |
there's something in this house that no-one can make any sense of. | 0:18:22 | 0:18:26 | |
It's like, I don't know, some horrible presence that won't let go. | 0:18:28 | 0:18:34 | |
Oh, yes, this'll make a nice addition to the household(!) | 0:18:40 | 0:18:44 | |
We can use it as that Weimar Republic-themed | 0:18:44 | 0:18:46 | |
broom cupboard we always talked about. | 0:18:46 | 0:18:47 | |
Yes, one of Adam's more tasteful designs. | 0:18:47 | 0:18:50 | |
Can't think why I kept it. | 0:18:50 | 0:18:52 | |
Cos I probably couldn't pay anyone to take it away. | 0:18:52 | 0:18:54 | |
We may not need to. | 0:18:57 | 0:18:58 | |
Oh-ho-ho! | 0:19:03 | 0:19:05 | |
This is going to kill - I tell you what - at the next church fete! | 0:19:05 | 0:19:08 | |
How special is this? Really chuffed. Oh! | 0:19:08 | 0:19:11 | |
Oh, and, er, don't forget that scarecrow, Jonathan. | 0:19:11 | 0:19:13 | |
You're going to blow our socks off, I know it! | 0:19:13 | 0:19:16 | |
Ta-ra! | 0:19:16 | 0:19:17 | |
HORN BEEPS | 0:19:22 | 0:19:24 | |
'..there's something in this house that no-one can make any sense of. | 0:19:26 | 0:19:30 | |
'It's like, I don't know, | 0:19:30 | 0:19:32 | |
'some horrible presence that won't let go.' | 0:19:32 | 0:19:36 | |
Who was the striped eunuch on a ferret? | 0:19:40 | 0:19:44 | |
I beg your pardon? | 0:19:44 | 0:19:46 | |
The striped eunuch? On a...ferry? | 0:19:46 | 0:19:50 | |
I heard someone talking about it the other day. | 0:19:50 | 0:19:52 | |
One of your ingenious murder cases. I was just curious. | 0:19:52 | 0:19:55 | |
I can only assume you're referring to the Striped Unicorn Affair, | 0:19:57 | 0:20:01 | |
which I would hardly describe as ingenious, | 0:20:01 | 0:20:04 | |
though it did present one or two singular features. | 0:20:04 | 0:20:07 | |
Which were? | 0:20:07 | 0:20:08 | |
Since when have you been interested? | 0:20:08 | 0:20:10 | |
Oh, I'm not! Particularly. | 0:20:10 | 0:20:12 | |
If it's that big a deal. | 0:20:12 | 0:20:14 | |
It's not a big deal. | 0:20:14 | 0:20:16 | |
Six years ago, a young guy named Stephen Belkin, | 0:20:18 | 0:20:22 | |
a research chemist, was wrongly accused of murdering his wife. | 0:20:22 | 0:20:27 | |
Quite a high-profile bank executive. | 0:20:29 | 0:20:31 | |
Imelda, I think her name was. | 0:20:31 | 0:20:34 | |
I get a call from his solicitor - can I give them a hand, | 0:20:34 | 0:20:37 | |
to sort out what appeared to be an open-and-shut case? | 0:20:37 | 0:20:40 | |
For several weeks, | 0:20:44 | 0:20:45 | |
she'd been getting these anonymous death threats. | 0:20:45 | 0:20:48 | |
Someone with some kind of vendetta against the capitalist classes. | 0:20:48 | 0:20:53 | |
Stephen, come and see this. There's another one! | 0:20:53 | 0:20:56 | |
I don't understand how these keep arriving. Who does this? | 0:20:59 | 0:21:01 | |
And all signed, rather mysteriously, with the name "Anti-Money". | 0:21:01 | 0:21:07 | |
Night in question, the door to the bedroom's all locked and | 0:21:07 | 0:21:11 | |
bolted securely from the inside, taking these threats very seriously, | 0:21:11 | 0:21:15 | |
and a brand-new sealed bottle of mineral water is opened, | 0:21:15 | 0:21:19 | |
which they share between them. | 0:21:19 | 0:21:21 | |
So, he's first into bed, and fairly soon, out like a light. | 0:21:31 | 0:21:34 | |
An hour or so goes by, she finds another one of these notes, | 0:21:36 | 0:21:41 | |
in her book, announcing that she's about to die that very night. | 0:21:41 | 0:21:45 | |
Wake up, wake up. This was inside my book! | 0:21:45 | 0:21:47 | |
Someone's been inside the room. Look. | 0:21:50 | 0:21:52 | |
He does his best to reassure her | 0:21:52 | 0:21:54 | |
the house and the room are totally airtight. | 0:21:54 | 0:21:56 | |
No-one can possibly get in. | 0:21:56 | 0:21:58 | |
The whole thing's just someone's idea of a sick joke. | 0:21:58 | 0:22:00 | |
The next morning, room all securely locked still, as before, | 0:22:02 | 0:22:06 | |
and she's lying there. | 0:22:06 | 0:22:08 | |
You were the only two people here. I don't believe you, OK? | 0:22:08 | 0:22:11 | |
Well, we were clearly NOT the only two people here... | 0:22:11 | 0:22:13 | |
-I don't believe your story. -..if I woke up and she's dead. | 0:22:13 | 0:22:15 | |
It turns out she's been poisoned. | 0:22:15 | 0:22:17 | |
The water HE'S been drinking is fine. | 0:22:17 | 0:22:19 | |
In fact, there's no way anyone else could have possibly got in there, | 0:22:19 | 0:22:22 | |
and he stands to cop for all her money. | 0:22:22 | 0:22:25 | |
And being a research chemist into the bargain - | 0:22:25 | 0:22:28 | |
motive AND means - he's bang to rights. | 0:22:28 | 0:22:31 | |
Main thing it all hinged on was a child's painting | 0:22:59 | 0:23:02 | |
her little niece had done, which she'd got stuck to the wall | 0:23:02 | 0:23:05 | |
beside her bed - of a zebra, with a horn. Slightly odd. | 0:23:05 | 0:23:10 | |
But even odder - Belkin absolutely swore blind there was | 0:23:10 | 0:23:14 | |
no horn on it when she put it up there. | 0:23:14 | 0:23:16 | |
Hence the "striped unicorn". | 0:23:19 | 0:23:21 | |
Well, that was weird. | 0:23:22 | 0:23:24 | |
But, put together with the slightly protruding books on the shelf, | 0:23:24 | 0:23:28 | |
quite conclusive. | 0:23:28 | 0:23:30 | |
I won't bore you with the solution, obviously - | 0:23:30 | 0:23:32 | |
it's hardly rocket science - | 0:23:32 | 0:23:33 | |
but it was enough to convince the DPP that the whole thing was | 0:23:33 | 0:23:36 | |
a carefully staged fit-up, and they dropped the charge. | 0:23:36 | 0:23:39 | |
I might go through some of that stuff from the mill in the morning. | 0:23:41 | 0:23:46 | |
See what's what. | 0:23:46 | 0:23:48 | |
Night-night. | 0:23:48 | 0:23:49 | |
Night-night. | 0:23:49 | 0:23:51 | |
How's it going, Mr Ryman? Are you nearly done, I hope? | 0:24:13 | 0:24:17 | |
Well, it's not a five-minute job, unfortunately. | 0:24:17 | 0:24:20 | |
He did say he wanted blanket coverage. | 0:24:20 | 0:24:23 | |
Oh, and the young lady said to tell you, if you want her, | 0:24:23 | 0:24:27 | |
she's in the lounge. | 0:24:27 | 0:24:29 | |
Her and this chap who just called round. | 0:24:29 | 0:24:31 | |
Think they said something about an exorcism? | 0:24:31 | 0:24:34 | |
Yes, just doing that now. | 0:24:39 | 0:24:41 | |
One and two - both lit. | 0:24:41 | 0:24:45 | |
Holy water? Right, coming up. | 0:24:45 | 0:24:47 | |
Freshly blessed. | 0:24:47 | 0:24:49 | |
May this be sealed and hallowed, | 0:24:51 | 0:24:54 | |
and consecrated in the name of the... | 0:24:54 | 0:24:56 | |
Sorry? You've gone a bit faint. | 0:24:56 | 0:24:59 | |
Wouldn't normally use one of these helplines, | 0:25:00 | 0:25:03 | |
but it's not exactly my field. | 0:25:03 | 0:25:05 | |
They put you through to Rawalpindi or somewhere, | 0:25:05 | 0:25:07 | |
and of course the blasted connection keeps g... | 0:25:07 | 0:25:09 | |
Hello? | 0:25:09 | 0:25:10 | |
No, I'm seeing no green mist at the moment. | 0:25:11 | 0:25:15 | |
Or red mist. | 0:25:15 | 0:25:16 | |
I'm not seeing any mist at all. What does that mean? | 0:25:16 | 0:25:19 | |
Erm... Luke 11. Give me a second. | 0:25:19 | 0:25:23 | |
14 to 22, got that. | 0:25:25 | 0:25:29 | |
Sorry? | 0:25:30 | 0:25:31 | |
When you say "a reliquary of St Ignatius", | 0:25:32 | 0:25:34 | |
where would I get one of those on a Saturday morning? | 0:25:34 | 0:25:38 | |
Hello? | 0:25:38 | 0:25:39 | |
Oh, for God's sake! | 0:25:39 | 0:25:40 | |
Sorry. | 0:25:40 | 0:25:41 | |
No, you've gone again. | 0:25:44 | 0:25:45 | |
Well, anyway, just thought, perhaps I could offer my services, | 0:26:16 | 0:26:19 | |
try and put your mind at rest. | 0:26:19 | 0:26:20 | |
No, no, Mr Wilkie, I'm pleased you rang. | 0:26:20 | 0:26:24 | |
It's not something I'd have, erm... Cos I'm not a religious person. | 0:26:24 | 0:26:28 | |
I have to say that. It's just that... | 0:26:28 | 0:26:30 | |
Look, do you mind if we...? | 0:26:39 | 0:26:42 | |
I was the youngest of three sisters. | 0:26:43 | 0:26:45 | |
My mum and dad had got divorced when I was two. | 0:26:45 | 0:26:48 | |
But all I remember is we were happy, still. | 0:26:50 | 0:26:52 | |
And everything was fine, | 0:26:52 | 0:26:55 | |
until she got married again and we moved into this place. | 0:26:55 | 0:26:58 | |
Daemons' Roost. | 0:26:58 | 0:27:00 | |
Weird and creepy and reeking of decay. | 0:27:02 | 0:27:07 | |
Of course, that was the whole reason he'd bought it, my stepfather. | 0:27:09 | 0:27:13 | |
He'd made all his money from these cheesy horror movies. | 0:27:13 | 0:27:17 | |
He was so into all that stuff. | 0:27:18 | 0:27:20 | |
The legend of Jacob Surtees, who used to live there. | 0:27:21 | 0:27:25 | |
He even based one of his films on. | 0:27:25 | 0:27:27 | |
Argh! | 0:27:27 | 0:27:28 | |
Of course, I wasn't old enough to understand all that. | 0:27:30 | 0:27:33 | |
All I knew was my mother was starting to change. | 0:27:40 | 0:27:44 | |
It was so frightening to watch, | 0:27:52 | 0:27:54 | |
like some kind of sinister force had found its way into her soul. | 0:27:54 | 0:28:00 | |
Everywhere she went, | 0:28:00 | 0:28:01 | |
every corner of the house seemed to terrify her out of her wits. | 0:28:01 | 0:28:06 | |
SOBBING | 0:28:06 | 0:28:08 | |
After we'd all gone to bed at night, she'd just always be crying. | 0:28:08 | 0:28:13 | |
I'm scared. | 0:28:17 | 0:28:18 | |
And I'll never forget the first time I heard her mention it - | 0:28:18 | 0:28:23 | |
the hobgoblin. | 0:28:23 | 0:28:24 | |
Like this was the thing that frightened her more than | 0:28:26 | 0:28:28 | |
anything else in the world. | 0:28:28 | 0:28:30 | |
Then, one day, they found her. | 0:28:32 | 0:28:34 | |
And it was like nothing would ever be the same again. | 0:28:41 | 0:28:44 | |
And I can't remember how soon it was after that - | 0:28:44 | 0:28:47 | |
I had no idea of time... | 0:28:47 | 0:28:49 | |
both my sisters... | 0:28:49 | 0:28:51 | |
Something horrible happened that, to this day, has never been explained. | 0:28:51 | 0:28:55 | |
The hobgoblin. | 0:29:06 | 0:29:07 | |
I know - how does that fit in with the demons? | 0:29:07 | 0:29:10 | |
But it's something that's stayed with me all these years. | 0:29:10 | 0:29:14 | |
PHONE BEEPS | 0:29:17 | 0:29:18 | |
Oh! Looks like my husband's found something. | 0:29:20 | 0:29:23 | |
No, I just thought this might take us somewhere. Jacob Surtees. | 0:29:23 | 0:29:28 | |
Professing his powers of sorcery and black magic. | 0:29:28 | 0:29:31 | |
Author of this book's in no doubt whatsoever, he was just | 0:29:31 | 0:29:33 | |
a very clever con man. And like most con men, he says, would have | 0:29:33 | 0:29:36 | |
loved to ensure his cleverness was one day fully appreciated. | 0:29:36 | 0:29:40 | |
And he thinks this could be a key passage, | 0:29:40 | 0:29:42 | |
from one of his manuscripts. Listen... | 0:29:42 | 0:29:44 | |
"To you who seek a light within the darkness | 0:29:45 | 0:29:48 | |
"That lamp, on my account, shall not be lit. | 0:29:48 | 0:29:52 | |
"Though such a course be palpably beneath me now | 0:29:52 | 0:29:55 | |
"The clue is in the foot that does not fit." | 0:29:55 | 0:29:58 | |
The foot that does not fit. Whose foot? | 0:30:00 | 0:30:03 | |
Things you hang on to. | 0:30:07 | 0:30:09 | |
East Germany, Yugoslavia... | 0:30:10 | 0:30:13 | |
South Vietnam! | 0:30:14 | 0:30:16 | |
God, I'm old. | 0:30:16 | 0:30:17 | |
Your first conjuring set. | 0:30:20 | 0:30:22 | |
-That was actually my brother's. -Oh. | 0:30:22 | 0:30:24 | |
Yeah, one of the many things he got me started on. | 0:30:24 | 0:30:27 | |
-I didn't realise it was Terry that... -Yeah. | 0:30:27 | 0:30:30 | |
He had a lot to answer for, | 0:30:32 | 0:30:34 | |
one way or another. | 0:30:34 | 0:30:36 | |
And what have we here? Oh, look, an old school report! | 0:30:40 | 0:30:44 | |
"JW Creek. Age - 15. | 0:30:44 | 0:30:46 | |
"Sex - he seems to find this a struggle." | 0:30:46 | 0:30:49 | |
Oh, no, sorry, that's German. | 0:30:49 | 0:30:51 | |
And it says you were in the school play. | 0:30:51 | 0:30:53 | |
"In the end-of-term production of A Tale Of Two Cities, | 0:30:53 | 0:30:55 | |
"he touched all the girls with his..." | 0:30:55 | 0:30:58 | |
"Portrayal..." | 0:30:58 | 0:31:00 | |
"..portrayal of Sydney Carton, | 0:31:00 | 0:31:03 | |
"ably evoking the character's final act of self-sacrifice." | 0:31:03 | 0:31:06 | |
He pretends to be the Frenchman Charles Darnay, | 0:31:06 | 0:31:08 | |
so he can take his place on the guillotine. | 0:31:08 | 0:31:11 | |
Ends up losing his head so that another man may live. | 0:31:12 | 0:31:15 | |
Many would say it was my finest hour. | 0:31:15 | 0:31:18 | |
Oh, look at you. | 0:31:18 | 0:31:20 | |
I wonder why you didn't take it up, then. Acting. You'd have been good. | 0:31:20 | 0:31:22 | |
Yeah, that would have gone down a treat with my father(!) | 0:31:22 | 0:31:25 | |
I might as well have told him I liked wearing bras. | 0:31:25 | 0:31:27 | |
Cos this was all completely real to me, at the time. | 0:31:29 | 0:31:32 | |
Jonathan! Jonathan! Come and see what I found in the woods! | 0:31:36 | 0:31:40 | |
He was eight, I was four. | 0:31:40 | 0:31:42 | |
Told me he'd met these magic pixies in the wood, | 0:31:42 | 0:31:45 | |
who'd given him special powers. | 0:31:45 | 0:31:47 | |
Course, I didn't believe a word of it. | 0:31:48 | 0:31:50 | |
But then I started finding these little letters under my pillow, | 0:31:54 | 0:31:58 | |
in tiny spindly writing, from the pixies, | 0:31:58 | 0:32:01 | |
telling me it was all completely true - | 0:32:01 | 0:32:04 | |
he was now a fully qualified wizard, | 0:32:04 | 0:32:06 | |
and if I didn't watch my step, he was going to turn me into a newt. | 0:32:06 | 0:32:10 | |
He was an evil sod. | 0:32:10 | 0:32:12 | |
And so did you, then? | 0:32:12 | 0:32:14 | |
What? | 0:32:15 | 0:32:16 | |
Like wearing bras? | 0:32:16 | 0:32:18 | |
What ARE you talking about? | 0:32:18 | 0:32:19 | |
No, it doesn't matter. I'm not judging you. | 0:32:19 | 0:32:21 | |
For goodness' sake. | 0:32:21 | 0:32:23 | |
Right, well, I'll leave you to it, then, shall I? | 0:32:23 | 0:32:25 | |
I don't suppose you've given any more thought to... | 0:32:25 | 0:32:27 | |
I'm not going to build a scarecrow. | 0:32:27 | 0:32:29 | |
That looks like your mum, I'm sure it does. | 0:32:30 | 0:32:32 | |
Oh, my mother's better-looking than that! | 0:32:32 | 0:32:34 | |
MUSIC: Funeral March Of A Marionette by Charles Gounod | 0:32:34 | 0:32:38 | |
(Foot... Foot...) | 0:33:08 | 0:33:10 | |
(Yes!) | 0:33:25 | 0:33:27 | |
'Well, it's my belief he's not referring to a foot on a leg | 0:33:29 | 0:33:32 | |
'or 12 inches at all - | 0:33:32 | 0:33:34 | |
'but to a student of poetry, of course,' | 0:33:34 | 0:33:36 | |
a "foot" is also a metrical unit in a line of verse. | 0:33:36 | 0:33:40 | |
And if you go through the whole thing - "To you who seek a light | 0:33:40 | 0:33:42 | |
"within the darkness | 0:33:42 | 0:33:43 | |
"That lamp, on my account, shall not be lit. | 0:33:43 | 0:33:45 | |
"Though such a course be palpably beneath me now | 0:33:45 | 0:33:48 | |
"The clue is in the foot that does not fit." | 0:33:48 | 0:33:51 | |
It's the third line that's wrong - | 0:33:51 | 0:33:53 | |
there's one syllable too many at the end. | 0:33:53 | 0:33:55 | |
"Beneath me now" is the foot that doesn't fit. | 0:33:55 | 0:33:57 | |
And "beneath me now" - surely - can only refer to one place. | 0:33:57 | 0:34:01 | |
If he left us something behind to explain what he did, | 0:34:01 | 0:34:04 | |
it could literally still be there. | 0:34:04 | 0:34:06 | |
Underneath him, in his grave. | 0:34:06 | 0:34:09 | |
This is going to be fun. | 0:34:09 | 0:34:11 | |
-STEPHEN: -Yeah, and best avoided in broad daylight. | 0:34:11 | 0:34:13 | |
If my wife ever finds out I've committed this sacrilege, | 0:34:15 | 0:34:19 | |
she'll brain me. | 0:34:19 | 0:34:20 | |
It can't be sacrilege, Mr Ryman, when he's the disciple of Satan. | 0:34:20 | 0:34:25 | |
Now, get digging. | 0:34:25 | 0:34:28 | |
Now, then, let's see if our friend's theory is... | 0:34:50 | 0:34:54 | |
ALL YELL | 0:34:55 | 0:34:58 | |
You see? | 0:35:12 | 0:35:13 | |
Yeah, I told you you'd come up with a masterpiece, once you got going. | 0:35:13 | 0:35:18 | |
What is it exactly? | 0:35:18 | 0:35:19 | |
What do you mean, "What is it"? It's obvious. | 0:35:21 | 0:35:24 | |
Oh, yes! Of course, it's brilliant! | 0:35:24 | 0:35:26 | |
Phill Jupitus. | 0:35:26 | 0:35:28 | |
Phill Jupitus?! It's Alfred Hitchcock. | 0:35:28 | 0:35:31 | |
It's a play on the famous publicity stills he did for The Birds. | 0:35:31 | 0:35:35 | |
Oh, yes. No, very funny. | 0:35:35 | 0:35:37 | |
It's funny! Maybe not laugh-out-loud, but it's... | 0:35:37 | 0:35:41 | |
-Mm-hm. -It's witty by implication. | 0:35:41 | 0:35:44 | |
What you've got is a scarecrow that's scaring crows, by means of | 0:35:44 | 0:35:47 | |
a person who made a very scary movie about crows scaring people, | 0:35:47 | 0:35:50 | |
so it's subliminally ironic. | 0:35:50 | 0:35:53 | |
OK. You don't think, if you got two bulging ping-pong ball eyes... | 0:35:53 | 0:35:57 | |
I'm not dumbing it down just to get a cheap laugh. | 0:35:57 | 0:35:59 | |
-No, no, you're right. -Thank you. | 0:35:59 | 0:36:01 | |
Anyway, I think I got there in the end, with that unicorn business. | 0:36:04 | 0:36:08 | |
The horn on the zebra was done in poisoned paint, | 0:36:08 | 0:36:11 | |
which the murderer then got to drip into her glass, | 0:36:11 | 0:36:13 | |
somehow or other, during the middle of the night. | 0:36:13 | 0:36:16 | |
Very, very good. | 0:36:18 | 0:36:19 | |
Wrong, but very good. | 0:36:20 | 0:36:21 | |
No, they tested the paint, it was just harmless watercolour. | 0:36:23 | 0:36:26 | |
Fairly obviously, that whole unicorn thing was just incidental. | 0:36:26 | 0:36:30 | |
The fact that the picture was only loosely stuck to the wall | 0:36:30 | 0:36:32 | |
with Blu-Tack was the clue. | 0:36:32 | 0:36:34 | |
What if it had slipped down beforehand through 90 degrees, | 0:36:35 | 0:36:39 | |
and then something had splashed it, causing it to dribble, | 0:36:39 | 0:36:42 | |
so that when it was put back, it just LOOKED like a horn? | 0:36:42 | 0:36:46 | |
And clearly something had landed in the water, | 0:36:46 | 0:36:48 | |
which could only have come from that shelf, just above. | 0:36:48 | 0:36:51 | |
A shelf that had been very slightly raised at one end, | 0:36:51 | 0:36:55 | |
so something small and round and lethal would be | 0:36:55 | 0:36:59 | |
exactly channelled down towards the spot where her glass stood, | 0:36:59 | 0:37:04 | |
and just invisibly dissolve in the water. | 0:37:04 | 0:37:07 | |
Let's say the book she's reading has been deliberately replaced, | 0:37:07 | 0:37:11 | |
about halfway along. | 0:37:11 | 0:37:13 | |
The second she retrieves it, the whole thing's set in motion. | 0:37:13 | 0:37:16 | |
A few telltale crystals they found behind the books | 0:37:31 | 0:37:34 | |
just about sealed it. | 0:37:34 | 0:37:35 | |
Of course, they never did track down this mysterious Anti-Money | 0:37:35 | 0:37:38 | |
character, though they'd have had a hard time in any case to prove... | 0:37:38 | 0:37:42 | |
PHONE RINGS | 0:37:42 | 0:37:43 | |
Jonathan Creek. Hello. | 0:37:46 | 0:37:47 | |
Ah, Mr Wilkie. | 0:37:49 | 0:37:50 | |
Sorry? Daemons' what? | 0:37:51 | 0:37:53 | |
No, what phone message was this? | 0:37:54 | 0:37:56 | |
The coffin I have reburied, Mr Clore. | 0:38:13 | 0:38:16 | |
And as long as you know, it wasn't my idea, any of this - | 0:38:16 | 0:38:18 | |
I didn't want any part of it. | 0:38:18 | 0:38:20 | |
Whatever it was that flew out of that thing, it's fair to say | 0:38:20 | 0:38:22 | |
it's put a slight dent on our policy of cynical detachment. | 0:38:22 | 0:38:25 | |
God help us all. | 0:38:26 | 0:38:27 | |
I know you know so much. | 0:38:33 | 0:38:35 | |
So much you can never tell us. | 0:38:39 | 0:38:41 | |
If only you could tell us. | 0:38:44 | 0:38:46 | |
Oh, my God! Call an ambulance! | 0:39:22 | 0:39:25 | |
Call an ambulance! | 0:39:25 | 0:39:26 | |
I'm afraid... | 0:39:26 | 0:39:28 | |
..that won't be necessary. | 0:39:30 | 0:39:31 | |
'So you're saying they're all out there, digging up | 0:39:39 | 0:39:41 | |
'this bloke's grave, as you do, in the middle of the night?!' | 0:39:41 | 0:39:44 | |
We're talking about a coffin that's been buried underneath | 0:39:44 | 0:39:46 | |
-six feet of soil, for 150 years. -MACHINE BEEPS | 0:39:46 | 0:39:49 | |
And not one but three witnesses, Jonathan! | 0:39:49 | 0:39:51 | |
'OK, I think we need to put these theories about resident demons | 0:39:51 | 0:39:54 | |
'on hold for a bit, don't we? And try and be sensible.' | 0:39:54 | 0:39:57 | |
Sorry, could you just excuse me | 0:39:57 | 0:39:58 | |
while I turn off the washing machine, or it'll drive us mad. | 0:39:58 | 0:40:01 | |
Oh! My godfathers! | 0:40:10 | 0:40:12 | |
'Hello? Are you still there? What's going on?' | 0:40:17 | 0:40:20 | |
Yes, er, I don't want to worry you, Jonathan, | 0:40:20 | 0:40:23 | |
but there's been a bit of an incident. | 0:40:23 | 0:40:25 | |
I'm still a little hazy as to why you happened to have | 0:40:27 | 0:40:29 | |
a life-size effigy of Mr Creek in your sitting room, | 0:40:29 | 0:40:32 | |
but then the personal proclivities of the clergy have always been | 0:40:32 | 0:40:35 | |
a closed book to me - and are not germane to this present inquiry. | 0:40:35 | 0:40:38 | |
Suffice to say, it's served to alert us to the fact that Tyree | 0:40:38 | 0:40:42 | |
obviously has a score to settle, | 0:40:42 | 0:40:44 | |
and it won't take him long to rumble what's happened and try again. | 0:40:44 | 0:40:47 | |
Rest assured, we are on the case, | 0:40:48 | 0:40:51 | |
but 24-hour protection is not a luxury we can currently afford. | 0:40:51 | 0:40:55 | |
In the meantime, I'd think seriously about switching bases, | 0:40:55 | 0:40:59 | |
maybe to somewhere nice and safe, and out of the way, | 0:40:59 | 0:41:01 | |
where he's less likely to find you. | 0:41:01 | 0:41:04 | |
I don't know if anywhere occurs at all, | 0:41:04 | 0:41:06 | |
that would fit that particular bill. | 0:41:06 | 0:41:08 | |
Jonathan, hi. Come in. | 0:41:19 | 0:41:21 | |
Stephen. How have you been? | 0:41:21 | 0:41:23 | |
-And you've not met Polly. -Hello. | 0:41:23 | 0:41:25 | |
Yes, out of one frying pan - thanks to you - | 0:41:25 | 0:41:28 | |
and into another fire, it seems. I gather Mr Wilkie's, erm... | 0:41:28 | 0:41:31 | |
Yes, filled us in on pretty much everything. | 0:41:31 | 0:41:34 | |
And listen, it's open-ended, | 0:41:34 | 0:41:35 | |
so feel free to stick around for as long as it takes. | 0:41:35 | 0:41:39 | |
-Phillipa's lived here six years, nearly... -That's right. | 0:41:39 | 0:41:41 | |
..nursing him right up to the end, | 0:41:41 | 0:41:43 | |
so she'll be able to answer most of your questions. | 0:41:43 | 0:41:45 | |
Oh, God! Do you know what? | 0:41:47 | 0:41:49 | |
Just having you here in the house - I'm feeling safer already. | 0:41:49 | 0:41:52 | |
It's, erm, not what you'd call pokey here, exactly, is it? | 0:41:55 | 0:41:58 | |
Well, we don't even use... | 0:41:58 | 0:41:59 | |
So it couldn't have worked out better, then, really, could it(?) | 0:42:03 | 0:42:06 | |
Stalked by a homicidal, knife-wielding psychopath - | 0:42:06 | 0:42:09 | |
plus a nice romantic getaway for two on the set of the Amityville Horror. | 0:42:09 | 0:42:13 | |
You wonder why I try and filter all this weirdness out of our life? | 0:42:13 | 0:42:17 | |
Because I still have this rather quaint affection for breathing. | 0:42:17 | 0:42:20 | |
SHE SNIFFS | 0:42:20 | 0:42:22 | |
Jonathan - dead rat. Oh, God, what do we do? | 0:42:27 | 0:42:31 | |
I'll get them to send one up. | 0:42:31 | 0:42:33 | |
Now, from this picture of the place, as it originally was, | 0:42:34 | 0:42:37 | |
you've got some other outbuildings and an old chapel here, | 0:42:37 | 0:42:40 | |
which have all mostly disappeared. | 0:42:40 | 0:42:42 | |
If we believe all this guff about an underground dungeon, | 0:42:42 | 0:42:46 | |
where grown men were sent flying across the room, | 0:42:46 | 0:42:49 | |
it does make you wonder if... | 0:42:49 | 0:42:50 | |
Jonathan! | 0:42:50 | 0:42:51 | |
Oh, yeah, sorry. | 0:42:55 | 0:42:57 | |
Dead rat. Remove. | 0:42:57 | 0:42:59 | |
Any preference which one? | 0:43:05 | 0:43:06 | |
When was it electromagnetism first kicked in? | 0:43:29 | 0:43:31 | |
Wasn't there some magician, about that time, | 0:43:31 | 0:43:33 | |
who used it in one of his tricks? | 0:43:33 | 0:43:35 | |
Robert-Houdin - The Light And Heavy Chest. | 0:43:35 | 0:43:38 | |
Be around the mid-1800s. | 0:43:38 | 0:43:41 | |
Yeah, it would have to be a pretty powerful force | 0:43:41 | 0:43:44 | |
to whisk people like that 50 feet through the air. | 0:43:44 | 0:43:47 | |
Or, alternatively, a very weak force. | 0:43:47 | 0:43:50 | |
Erm, this letter, Alison, you say he sent to you... | 0:43:51 | 0:43:56 | |
About two weeks ago. | 0:43:56 | 0:43:57 | |
It doesn't say very much, just how sorry he was we'd lost | 0:43:57 | 0:44:00 | |
contact all those years, and now it was time I "learned the truth". | 0:44:00 | 0:44:04 | |
Second page is just directions to the house and how | 0:44:04 | 0:44:07 | |
he hopes we'll both be able to settle down here. | 0:44:07 | 0:44:09 | |
Mmm. But I wonder why he'd do that. | 0:44:09 | 0:44:12 | |
Put the date again at the top, | 0:44:12 | 0:44:15 | |
which is four days after the date on the first page. | 0:44:15 | 0:44:18 | |
Can't have taken him five days to write, | 0:44:18 | 0:44:20 | |
what, a couple of dozen lines? | 0:44:20 | 0:44:21 | |
But what about last night, guys? | 0:44:21 | 0:44:23 | |
That was like nothing human came out of there. | 0:44:23 | 0:44:26 | |
Don't know. There's definitely some stuff going on round here that | 0:44:29 | 0:44:32 | |
someone's desperate to keep a lid on, but... | 0:44:32 | 0:44:35 | |
..how the hell it all fits together... | 0:44:37 | 0:44:39 | |
A lot of CCTV around the house, I can't help noticing. | 0:44:43 | 0:44:48 | |
Well, there's another mystery. | 0:44:48 | 0:44:50 | |
Evidently, something he'd ordered up just before she came. | 0:44:50 | 0:44:53 | |
As to why, your guess is as good as mine. | 0:44:53 | 0:44:55 | |
So, your wife having an early night? | 0:45:00 | 0:45:03 | |
Feeling the strain of events, I think. | 0:45:04 | 0:45:06 | |
POLLY SCREAMS AND GASPS | 0:45:29 | 0:45:30 | |
Oh! | 0:45:34 | 0:45:36 | |
-Oh! -Oh, sorry, didn't mean to scare you. | 0:45:53 | 0:45:57 | |
Been a bit of a day, hasn't it? All in all. | 0:45:58 | 0:46:00 | |
Yes, and I'm feeling a little queasy, Mr Wilkie. | 0:46:00 | 0:46:03 | |
Cos I forgot to give them to you, didn't I? | 0:46:03 | 0:46:06 | |
Earlier on - your buttons. All now safely retrieved, | 0:46:06 | 0:46:09 | |
courtesy of a quick-acting emetic, soon as I got home. | 0:46:09 | 0:46:12 | |
Oh... | 0:46:12 | 0:46:14 | |
-They HAVE been through the dishwasher. -Ah. | 0:46:14 | 0:46:17 | |
Tell you what you need, Polly, is | 0:46:18 | 0:46:20 | |
to suck on as many ice cubes as you can. | 0:46:20 | 0:46:22 | |
-No better cure for nausea. -Ah... | 0:46:22 | 0:46:24 | |
Such a shame they only ever got to see him as he was at the end. | 0:46:25 | 0:46:30 | |
I really believe he was terribly fond of her. | 0:46:32 | 0:46:36 | |
The fact that she came back will have meant a lot to him. | 0:46:36 | 0:46:39 | |
But he never shared it with you - anything from his past - | 0:46:39 | 0:46:43 | |
that would have helped us now? | 0:46:43 | 0:46:45 | |
Well, sometimes, when he'd had a drink or two, | 0:46:45 | 0:46:47 | |
you'd see him loosen up a little, but... | 0:46:47 | 0:46:50 | |
..he was under strictest orders to keep off alcohol. | 0:46:51 | 0:46:53 | |
Paid no attention to that. | 0:46:53 | 0:46:55 | |
I just gave up in the end, trying to frustrate his little schemes - | 0:46:56 | 0:47:00 | |
like filling up the ice trays with neat vodka. | 0:47:00 | 0:47:03 | |
He could be quite a wily old customer when he wanted. | 0:47:03 | 0:47:06 | |
POLLY SCREAMS | 0:47:43 | 0:47:44 | |
Oh, my God! Oh, my God, no! | 0:47:48 | 0:47:51 | |
No! Agh! Agh! Can this get any worse?! | 0:47:51 | 0:47:55 | |
Oh, God, you made me jump! | 0:47:55 | 0:47:57 | |
I was trying NOT to make you jump! | 0:47:57 | 0:47:59 | |
What, have you gone completely blind now? | 0:47:59 | 0:48:01 | |
No, she was just telling me, | 0:48:01 | 0:48:03 | |
the undertakers couldn't make it till the morning. | 0:48:03 | 0:48:05 | |
So, what do we think about your amazing detective friend, Mr Creek? | 0:48:25 | 0:48:30 | |
Doesn't give a whole lot away, does h...? | 0:48:30 | 0:48:32 | |
Stephen? | 0:48:34 | 0:48:35 | |
Hello? | 0:48:39 | 0:48:41 | |
Somebody down here? | 0:48:41 | 0:48:42 | |
Who is that? | 0:48:46 | 0:48:47 | |
Stephen? | 0:48:47 | 0:48:49 | |
LIGHT SWITCH CLICKS REPEATEDLY | 0:48:52 | 0:48:54 | |
Come on, this isn't funny. | 0:48:54 | 0:48:56 | |
Stephen? | 0:48:58 | 0:48:59 | |
Are you in here? | 0:48:59 | 0:49:01 | |
What's happening? | 0:49:04 | 0:49:05 | |
ALISON SCREAMS | 0:49:08 | 0:49:11 | |
See, I just don't buy this. | 0:49:13 | 0:49:16 | |
2nd of August and the 6th of August. You're not telling me | 0:49:16 | 0:49:20 | |
he left four days between writing these two pages? | 0:49:20 | 0:49:24 | |
Someone's trying to be clever here, but not clever enough. | 0:49:24 | 0:49:27 | |
Is there a fire alarm going off somewhere? | 0:49:27 | 0:49:29 | |
Says it's time she learned the truth, and then goes into | 0:49:29 | 0:49:33 | |
lengthy directions about how to get to the house. | 0:49:33 | 0:49:36 | |
Highly significant, you'd have to say. | 0:49:36 | 0:49:39 | |
The minute I finish orbiting this light fitting, I tell you, | 0:49:39 | 0:49:41 | |
I'm out of here. | 0:49:41 | 0:49:43 | |
Bloody man! | 0:49:43 | 0:49:44 | |
Highly significant - how? | 0:49:49 | 0:49:50 | |
You look at this second date again, more closely, | 0:49:53 | 0:49:57 | |
and then compare it to the first one - what do you notice? | 0:49:57 | 0:49:59 | |
Ohh! | 0:50:01 | 0:50:02 | |
What? | 0:50:02 | 0:50:03 | |
The ink on the "th" and the "Aug" is a very slightly different colour, | 0:50:05 | 0:50:10 | |
and a brave but unsuccessful attempt | 0:50:10 | 0:50:13 | |
has been made to copy the handwriting. | 0:50:13 | 0:50:16 | |
Conclusion - they were added in afterwards, by someone else, | 0:50:16 | 0:50:20 | |
to what was already there. | 0:50:20 | 0:50:21 | |
Which was just the number six. | 0:50:21 | 0:50:24 | |
Now disguised to look like a date | 0:50:24 | 0:50:27 | |
which, together with the rather abrupt change in topic, | 0:50:27 | 0:50:30 | |
between one sheet and the other, surely only points to one thing - | 0:50:30 | 0:50:35 | |
that pages two to five of the original letter | 0:50:35 | 0:50:39 | |
that Clore wrote to Alison were removed before it got to her, | 0:50:39 | 0:50:44 | |
by person or persons unknown, to stop her reading about "the truth". | 0:50:44 | 0:50:51 | |
GROANING | 0:50:59 | 0:51:01 | |
MOANING | 0:51:05 | 0:51:07 | |
SCREAMING | 0:51:09 | 0:51:12 | |
BIRDS CAW | 0:51:43 | 0:51:45 | |
Oh, everyone having a lie-in? | 0:51:57 | 0:51:59 | |
Mr Wilkie had a christening to attend to, and I'm not sure | 0:51:59 | 0:52:02 | |
where Mr and Mrs Belkin have got to this m... | 0:52:02 | 0:52:05 | |
And that's absolutely everything, Alison, you can remember? | 0:52:16 | 0:52:19 | |
You have no recollection of being taken into this place | 0:52:19 | 0:52:22 | |
or out again afterwards? | 0:52:22 | 0:52:23 | |
Oh, if only I AM going mad. | 0:52:23 | 0:52:25 | |
Having nightmares, sleepwalking, anything but that... | 0:52:25 | 0:52:29 | |
Sounds to me as if whatever they drugged you with had | 0:52:29 | 0:52:32 | |
some kind of hallucinogenic effect, maybe? Or... | 0:52:32 | 0:52:34 | |
So where is he? | 0:52:34 | 0:52:36 | |
You say he's not in the house. | 0:52:36 | 0:52:38 | |
Oh, dear God. | 0:52:38 | 0:52:39 | |
DOORBELL RINGS | 0:52:39 | 0:52:41 | |
Oh, sorry. Funeral directors. | 0:52:41 | 0:52:43 | |
I'll have to, er... | 0:52:43 | 0:52:45 | |
Yes, of course. | 0:52:45 | 0:52:46 | |
Your poor stepfather. | 0:52:49 | 0:52:51 | |
Must have been such a shock when he... | 0:52:51 | 0:52:54 | |
Just before he died, it's like he was trying to say something. | 0:52:56 | 0:53:01 | |
With his eyes. | 0:53:02 | 0:53:04 | |
And his chair was just there and she was next to him. | 0:53:04 | 0:53:07 | |
Seemed like he kept looking back and forth... | 0:53:07 | 0:53:10 | |
First, at my mobile phone on the table, and then over to that door, | 0:53:12 | 0:53:16 | |
three or four times, and...then... | 0:53:16 | 0:53:21 | |
I don't know, he just, he just... | 0:53:24 | 0:53:26 | |
Oh, it's OK, you'll be getting drowsy. | 0:53:27 | 0:53:30 | |
Best if you just lie down, try and sleep it off. | 0:53:30 | 0:53:33 | |
End of the day, you're going to find out - | 0:53:33 | 0:53:36 | |
it's just one of those scary things that never actually happened. | 0:53:36 | 0:53:41 | |
I promise, because, well, how COULD it have happened? | 0:53:41 | 0:53:44 | |
"Just one of those scary things"? | 0:53:53 | 0:53:55 | |
The poor girl was in bits! | 0:53:55 | 0:53:56 | |
Anyway, you don't believe it's possible she saw all that? | 0:53:56 | 0:54:00 | |
Her husband being magically teleported into a furnace, | 0:54:00 | 0:54:04 | |
by a demented Satan worshipper? | 0:54:04 | 0:54:06 | |
Hmm. The teleportation part, I can certainly believe. | 0:54:07 | 0:54:12 | |
It's the demented Satan worshipper I'm having more trouble with. | 0:54:12 | 0:54:16 | |
-What? -PHONE BEEPS | 0:54:16 | 0:54:18 | |
Oh, it's a picture from Nina, with her scarecrow. | 0:54:21 | 0:54:23 | |
Yeah, very nice, but I'm not in the mood right now. | 0:54:23 | 0:54:27 | |
Scarecrow. Oh! Deus ex machina. That would CERTAINLY do it. | 0:54:27 | 0:54:33 | |
I Think it's high time, don't YOU, we had | 0:54:34 | 0:54:36 | |
a scout round that grave out there? | 0:54:36 | 0:54:38 | |
So, we on a ghost hunt, then, now? | 0:54:41 | 0:54:43 | |
Please don't tell me you're planning to dig all that up again. | 0:54:45 | 0:54:48 | |
Not unless we have to. | 0:54:48 | 0:54:50 | |
If my first instinct was anywhere near correct, | 0:54:50 | 0:54:53 | |
about that routine in the torture chamber, | 0:54:53 | 0:54:55 | |
then this coffin thing shouldn't be too much of a headache. | 0:54:55 | 0:54:58 | |
Doesn't even bear thinking about. | 0:54:58 | 0:55:00 | |
Some stupid old piece of folklore | 0:55:00 | 0:55:03 | |
that was completely impossible in the first place. | 0:55:03 | 0:55:05 | |
You don't really think that poor man might have...? | 0:55:07 | 0:55:10 | |
The way it happened, quite obviously, was a trick, | 0:55:10 | 0:55:12 | |
cleverly designed to spook everyone. | 0:55:12 | 0:55:15 | |
Same way it did all those other women that Surtees brought there | 0:55:15 | 0:55:19 | |
in order to terrify them into surren... | 0:55:19 | 0:55:22 | |
Ah. | 0:55:23 | 0:55:25 | |
Aha! | 0:55:26 | 0:55:28 | |
Now, then. | 0:55:28 | 0:55:29 | |
Oh, a rusty ring! All is solved(!) | 0:55:29 | 0:55:32 | |
Come on, a rusty ring that was once part of... | 0:55:32 | 0:55:35 | |
Ah, think I'm starting to see... | 0:55:39 | 0:55:42 | |
Am I? | 0:55:43 | 0:55:45 | |
Knowing that one day someone was going to fathom out that clue, | 0:55:45 | 0:55:48 | |
as a final parting shot, in order to scare the living crap out of them, | 0:55:48 | 0:55:52 | |
he sets up what is essentially a very high-powered jack-in-the-box. | 0:55:52 | 0:55:57 | |
And a pretty nifty piece of work, you have to say, | 0:55:58 | 0:56:01 | |
to stand that test of time. | 0:56:01 | 0:56:02 | |
So he was never even buried here in the first place. | 0:56:02 | 0:56:04 | |
Oh! | 0:56:06 | 0:56:07 | |
You might be right. There's another | 0:56:08 | 0:56:10 | |
piece of the spring here as well, look. | 0:56:10 | 0:56:12 | |
But we still haven't found anything that tells us who's behind | 0:56:14 | 0:56:17 | |
all that other... | 0:56:17 | 0:56:19 | |
No, the fact we haven't found anything might tell us | 0:56:19 | 0:56:21 | |
EXACTLY who's behind it. | 0:56:21 | 0:56:22 | |
PHONE RINGS | 0:56:37 | 0:56:39 | |
It just seems an unlikely coincidence - | 0:56:56 | 0:56:58 | |
this magic dungeon makes a reappearance | 0:56:58 | 0:57:01 | |
immediately after that grave was opened the other night. | 0:57:01 | 0:57:04 | |
Oh, do you think maybe that was the entrance to it? | 0:57:04 | 0:57:06 | |
Or else furnished some clue to the entrance. | 0:57:06 | 0:57:09 | |
Underground crypt of some kind? Now very recently accessed - | 0:57:11 | 0:57:15 | |
somewhere round here, beneath our feet. | 0:57:15 | 0:57:18 | |
Depends how good a job they made, I suppose, of covering up afterwards. | 0:57:18 | 0:57:22 | |
-Mmm. -Might be a hands and knees job. | 0:57:22 | 0:57:25 | |
Start at the front, maybe, then work our way round? | 0:57:25 | 0:57:28 | |
And, of course, what we still don't know is, | 0:57:28 | 0:57:30 | |
who was it killed that first wife in your clever poisoning case? | 0:57:30 | 0:57:34 | |
And if they had a grudge against both of them, | 0:57:34 | 0:57:37 | |
why wait all this time to take out the husband? | 0:57:37 | 0:57:40 | |
If that IS what they've done. | 0:57:41 | 0:57:44 | |
Or else, are they entirely unrelated? | 0:57:44 | 0:57:47 | |
Remembering our "Anti-Money" character, from those death threats, | 0:57:48 | 0:57:53 | |
who was supposedly killing for political reasons, but it was | 0:57:53 | 0:57:56 | |
MRS Belkin who was drawing all the big bankers' bonuses, | 0:57:56 | 0:58:00 | |
so why take it all out on a research chemist, | 0:58:00 | 0:58:02 | |
who has no connection with the world of high finance of any ki...? | 0:58:02 | 0:58:06 | |
What? | 0:58:07 | 0:58:09 | |
I can't believe I missed that. | 0:58:09 | 0:58:12 | |
Six years it's been sitting there, I never saw it. | 0:58:12 | 0:58:15 | |
-Saw what? -Research chemist. | 0:58:15 | 0:58:18 | |
Oh, if you want a detective brain-teaser, | 0:58:18 | 0:58:20 | |
that one takes the biscuit. | 0:58:20 | 0:58:21 | |
Funny how a thing can bother you at the time - under the surface - | 0:58:54 | 0:58:58 | |
but you just let it go. | 0:58:58 | 0:59:00 | |
That signature - "Anti-Money". | 0:59:00 | 0:59:03 | |
Well, I suppose it makes sense for someone who's deeply opposed | 0:59:03 | 0:59:06 | |
to the whole culture of capitalism, but... | 0:59:06 | 0:59:08 | |
Could it be a coincidence? Could it be a double bluff? | 0:59:10 | 0:59:13 | |
Or could it be that whoever it was that murdered his wife | 0:59:13 | 0:59:16 | |
was daring to taunt us by declaring their identity in some kind of code? | 0:59:16 | 0:59:21 | |
"Anti-Money". | 0:59:21 | 0:59:23 | |
-Sorry? -Just need to check that I'm remembering it right | 0:59:24 | 0:59:27 | |
And I am. | 0:59:28 | 0:59:30 | |
What do you reckon? | 0:59:33 | 0:59:35 | |
Antimony. | 0:59:35 | 0:59:37 | |
Toxic metallic element. Atomic number 51. | 0:59:38 | 0:59:40 | |
Chemical symbol Sb. | 0:59:40 | 0:59:42 | |
Sb. | 0:59:44 | 0:59:46 | |
Oh! | 0:59:46 | 0:59:47 | |
Too much of a stretch, surely! Stephen Belkin? | 0:59:47 | 0:59:50 | |
What, deliberately staged that whole thing | 0:59:50 | 0:59:53 | |
to look impossible, so that he'd be accused of murder? | 0:59:53 | 0:59:56 | |
And then got you in to prove it was someone else? | 0:59:56 | 0:59:58 | |
Wouldn't be unheard of. | 0:59:58 | 1:00:00 | |
If I hadn't got there by myself, | 1:00:06 | 1:00:07 | |
he could have gently nudged me in the right directions. | 1:00:07 | 1:00:10 | |
And looked at from this distance, | 1:00:10 | 1:00:12 | |
doesn't it all seem just a little too perfect? | 1:00:12 | 1:00:15 | |
That painting on the wall supposedly slipping down that very night. | 1:00:15 | 1:00:19 | |
And the splash mark from the water that very conveniently | 1:00:19 | 1:00:22 | |
created the horn on the zebra? | 1:00:22 | 1:00:24 | |
It's just the kind of things he knew I'd pick up on. | 1:00:24 | 1:00:27 | |
Ugh! | 1:00:45 | 1:00:47 | |
Stephen... | 1:00:47 | 1:00:49 | |
Ugh! | 1:00:50 | 1:00:51 | |
SHE GASPS FOR BREATH | 1:00:55 | 1:00:58 | |
Well, I don't know. | 1:01:13 | 1:01:14 | |
You're going to need a lot more than that to convince her | 1:01:14 | 1:01:17 | |
she married a killer. | 1:01:17 | 1:01:18 | |
I know. | 1:01:18 | 1:01:20 | |
I know. | 1:01:20 | 1:01:21 | |
You knew about this. | 1:02:23 | 1:02:25 | |
All along. Everything. | 1:02:26 | 1:02:28 | |
The hobgoblin. | 1:02:31 | 1:02:33 | |
A lot of flattened grass just here. | 1:02:42 | 1:02:45 | |
I think we could be getting warm. | 1:02:45 | 1:02:47 | |
Oh, well done, you. | 1:02:54 | 1:02:56 | |
-If I had a biscuit... -Don't push it, sunshine. | 1:02:56 | 1:02:59 | |
JONATHAN GRUNTS | 1:03:02 | 1:03:05 | |
You ready to face the demons? | 1:03:16 | 1:03:18 | |
Let's get on with it. | 1:03:18 | 1:03:19 | |
Interesting. | 1:04:29 | 1:04:31 | |
Very interesting. | 1:04:33 | 1:04:34 | |
And, of course, you know exactly what's on the other side of this. | 1:04:36 | 1:04:39 | |
Well, there was only ever one possibility | 1:04:39 | 1:04:42 | |
that would tie together all those first-hand accounts | 1:04:42 | 1:04:45 | |
of demonic powers and a boring old thing called the real world. | 1:04:45 | 1:04:49 | |
DOOR CREAKS | 1:04:53 | 1:04:56 | |
Careful how you go... | 1:04:59 | 1:05:01 | |
LOUD CREAKING | 1:05:17 | 1:05:20 | |
90 degree shift in the viewers' perspective, | 1:05:27 | 1:05:30 | |
and there was no mystery to it at all. | 1:05:30 | 1:05:32 | |
What IS that? | 1:05:47 | 1:05:48 | |
A work of art in itself. | 1:05:48 | 1:05:50 | |
Certainly puts all those village scarecrows to shame. | 1:05:50 | 1:05:54 | |
One of the signature tricks of 19th-century magic. | 1:05:55 | 1:05:58 | |
It's a very skilfully constructed automaton. | 1:06:00 | 1:06:03 | |
The most persuasive part of the whole deception. | 1:06:06 | 1:06:09 | |
Don't know why it took me so long to tumble. | 1:06:11 | 1:06:14 | |
Here, we presume, is our "fiery furnace in the wall". | 1:06:21 | 1:06:27 | |
Oil of some kind. | 1:06:33 | 1:06:34 | |
Piped in, maybe, or some kind of supply tank somewhere. | 1:06:35 | 1:06:40 | |
Very recently ignited. | 1:06:40 | 1:06:41 | |
POLLY SIGHS | 1:06:45 | 1:06:47 | |
Do we really want to see what's under here? | 1:06:47 | 1:06:49 | |
Just curious as to where it was all controlled from. | 1:06:49 | 1:06:51 | |
A handy little recess, suitably disguised. | 1:06:54 | 1:06:58 | |
CLUNKING AND RATTLING | 1:06:58 | 1:07:00 | |
DOOR SLAMS | 1:07:09 | 1:07:11 | |
And this is where he worked it. Simple, but effective. | 1:07:15 | 1:07:19 | |
So when they all woke up on this thing, | 1:07:26 | 1:07:28 | |
I suppose they'd be in such a drugged state to start with... | 1:07:28 | 1:07:31 | |
And strapped on so tight, they'd have no sense of gravity. | 1:07:31 | 1:07:34 | |
Ah, yes. Your relatively weak physical force. | 1:07:34 | 1:07:37 | |
Well, you have to hand it to these Victorian engineers - | 1:07:37 | 1:07:40 | |
they certainly built things to last. | 1:07:40 | 1:07:42 | |
So who the hell do you think is behind all...? | 1:07:42 | 1:07:44 | |
POLLY GASPS | 1:07:44 | 1:07:46 | |
Where is he? Where is he? | 1:07:47 | 1:07:49 | |
Jonathan Creek! Show yourself! | 1:07:53 | 1:07:57 | |
Well, he's, erm... | 1:07:57 | 1:07:58 | |
-Come on. -He's, erm... | 1:07:58 | 1:08:01 | |
I'm not here to play Hunt The Thimble. | 1:08:01 | 1:08:04 | |
Creek! You and me have got some unfinished business to sort out! | 1:08:04 | 1:08:07 | |
CREAKING AND RATTLING | 1:08:14 | 1:08:17 | |
GRUNTING AND SQUEALING | 1:08:21 | 1:08:24 | |
Yeah, that's going to work(!) Piece of shit Wizard Of Oz routine! | 1:08:30 | 1:08:34 | |
I don't think you're hearing me! | 1:08:34 | 1:08:36 | |
This floor's going to get very red and sticky in a minute. | 1:08:36 | 1:08:41 | |
Wait, erm, how did you...? | 1:08:41 | 1:08:43 | |
Yeah, it took a while. | 1:08:43 | 1:08:44 | |
One of your neighbours had some very helpful suggestions. | 1:08:44 | 1:08:48 | |
OK, I'm not waiting for Christmas, Mr Creek! | 1:08:48 | 1:08:52 | |
It's you or the young lady here. | 1:08:52 | 1:08:54 | |
Decision time! | 1:08:56 | 1:08:57 | |
TYREE YELLS | 1:09:01 | 1:09:03 | |
POLLY SCREAMS | 1:09:03 | 1:09:05 | |
ALL YELL TYREE SNARLS | 1:09:31 | 1:09:34 | |
Come here! | 1:09:34 | 1:09:36 | |
-Get the matches. -What? | 1:09:40 | 1:09:42 | |
They're on the floor. | 1:09:42 | 1:09:43 | |
You're dead! | 1:09:46 | 1:09:47 | |
JONATHAN YELLS | 1:09:49 | 1:09:50 | |
You're dead now, Creek! | 1:09:50 | 1:09:52 | |
Oh! | 1:09:52 | 1:09:54 | |
Get off! | 1:10:07 | 1:10:08 | |
Oh, quick! | 1:10:08 | 1:10:10 | |
POLLY SOBS | 1:10:28 | 1:10:32 | |
ALISON SOBS | 1:10:38 | 1:10:40 | |
Yeah, we will. | 1:10:43 | 1:10:44 | |
Don't think he couldn't tell you were holding something back - | 1:10:45 | 1:10:50 | |
who you think it was behind all that last night. | 1:10:50 | 1:10:53 | |
There's one very obvious candidate, but... | 1:10:54 | 1:10:56 | |
my track record here's been pretty iffy so far, I could be way off. | 1:10:56 | 1:11:01 | |
There's too much stuff pulling in the wrong direction. | 1:11:01 | 1:11:04 | |
Hang on a sec. Is that the photo she sent? | 1:11:04 | 1:11:07 | |
Nina? With her scarecrow? | 1:11:07 | 1:11:09 | |
What? | 1:11:10 | 1:11:12 | |
Because when you told me that she told you... | 1:11:14 | 1:11:16 | |
Oh, you see? Too many easy assumptions. | 1:11:17 | 1:11:21 | |
Now the options start to open again, | 1:11:23 | 1:11:25 | |
cos when he was staring at her mobile - Clore - | 1:11:25 | 1:11:28 | |
and then through the open doorway, | 1:11:28 | 1:11:30 | |
and then there's the mystery of all the last-minute security cameras, | 1:11:30 | 1:11:34 | |
which surely just about seals it. | 1:11:34 | 1:11:36 | |
Unlikely as it may seem, I think we have our killer. | 1:11:41 | 1:11:45 | |
Alison, I'm so sorry. I am so sorry. | 1:11:52 | 1:11:55 | |
If there's anything I can do... | 1:11:55 | 1:11:57 | |
Good evening. | 1:12:11 | 1:12:13 | |
-Er, gin and tonic, please. -Certainly, sir. | 1:12:20 | 1:12:22 | |
He's on his way. | 1:12:43 | 1:12:44 | |
Thank you. | 1:12:46 | 1:12:47 | |
Hello, sir. | 1:12:48 | 1:12:50 | |
Ryman, a table for eight o'clock. | 1:12:50 | 1:12:52 | |
Thank you. | 1:12:52 | 1:12:53 | |
Good evening, sir. | 1:13:00 | 1:13:01 | |
-A glass of red wine, please. -Yes, sir. | 1:13:01 | 1:13:03 | |
Mr Ryman? We were never properly introduced, at the house. | 1:13:12 | 1:13:16 | |
Wendell Wilkie, and this is Jonathan Creek, and Polly. | 1:13:16 | 1:13:20 | |
You can probably guess how much we already know. | 1:13:20 | 1:13:23 | |
This is more in the way of a mopping-up operation. | 1:13:23 | 1:13:26 | |
Creek. | 1:13:26 | 1:13:27 | |
You were the one... | 1:13:29 | 1:13:30 | |
Helped Stephen Belkin get away with murdering his wife. | 1:13:30 | 1:13:32 | |
A crime for which, we assume, you've now brought him to justice, | 1:13:34 | 1:13:39 | |
in a suitably grisly fashion. | 1:13:39 | 1:13:42 | |
I'm guessing it wasn't exactly planned that way, | 1:13:42 | 1:13:45 | |
you were just on his tail, | 1:13:45 | 1:13:46 | |
ready to strike when the conditions were right. | 1:13:46 | 1:13:50 | |
I don't think any of us see you as a professional hit man, | 1:13:50 | 1:13:53 | |
so someone with a personal stake in the case? | 1:13:53 | 1:13:56 | |
That picture of a grazing zebra, | 1:13:58 | 1:14:00 | |
painted by his niece, suggested a family connection overseas. | 1:14:00 | 1:14:05 | |
So, a close relative, maybe? Someone in the domestic security business, | 1:14:05 | 1:14:09 | |
who would have had the perfect cover | 1:14:09 | 1:14:12 | |
to hang around the house all day and monitor his target. | 1:14:12 | 1:14:15 | |
Feel free to correct me at any point. | 1:14:16 | 1:14:18 | |
I deny everything, naturally. | 1:14:20 | 1:14:22 | |
And knowing how shaky your theories were first time round, | 1:14:24 | 1:14:28 | |
I don't give much for their chances this time. | 1:14:28 | 1:14:30 | |
I suppose you're going to say that was found at the scene of the crime. | 1:14:38 | 1:14:41 | |
Good luck with the jury. | 1:14:41 | 1:14:43 | |
Actually, I borrowed it from your jacket pocket to light a candle. | 1:14:43 | 1:14:47 | |
Forgot to put it back. | 1:14:53 | 1:14:54 | |
Two from the same hotel - we thought it was odds-on we'd find you here. | 1:14:56 | 1:14:59 | |
Well, certain facts, I won't try to conceal. | 1:15:01 | 1:15:04 | |
Imelda - yes - my wife's sister. | 1:15:06 | 1:15:08 | |
Gifted, sweet-natured, but far too trusting. | 1:15:09 | 1:15:14 | |
Never saw through him, | 1:15:15 | 1:15:17 | |
never saw it coming. | 1:15:17 | 1:15:19 | |
That was his great gift, I suppose. The mask of innocence. | 1:15:20 | 1:15:25 | |
Predatory, reptilian, | 1:15:26 | 1:15:30 | |
and more than happy to bide his time. | 1:15:30 | 1:15:34 | |
It turns out she wasn't worth quite as much as he thought, | 1:15:34 | 1:15:38 | |
so he had no choice but to bail out early, | 1:15:38 | 1:15:43 | |
and look elsewhere. | 1:15:43 | 1:15:44 | |
So you've managed to keep close tabs on him all this time, | 1:15:47 | 1:15:50 | |
and what happened next? | 1:15:50 | 1:15:51 | |
You heard that he'd married again, to Alison. | 1:15:53 | 1:15:56 | |
A young lady who stands to inherit a very large property and estate. | 1:15:56 | 1:16:00 | |
What are the chances history's going to repeat itself? | 1:16:00 | 1:16:04 | |
You're still looking for proof of Belkin's guilt, so maybe | 1:16:04 | 1:16:07 | |
you'll catch something on one of your cameras that'll give him away. | 1:16:07 | 1:16:10 | |
Clore's final stroke is your stroke of luck. | 1:16:10 | 1:16:14 | |
You turn up on the doorstep, | 1:16:15 | 1:16:17 | |
claiming the work's already been arranged. | 1:16:17 | 1:16:20 | |
The nurse takes your word for it. Clore, by this time, | 1:16:20 | 1:16:23 | |
is in no state to say otherwise. | 1:16:23 | 1:16:26 | |
Or is he? | 1:16:29 | 1:16:31 | |
Before he died that day, he did try to say something, | 1:16:32 | 1:16:36 | |
with his eyes. | 1:16:36 | 1:16:37 | |
Seemed to be staring, first at a mobile phone, | 1:16:39 | 1:16:43 | |
and then at an open doorway. | 1:16:43 | 1:16:45 | |
A doorway through which he would have seen... | 1:16:48 | 1:16:51 | |
..the edge of a film poster, and the letter Y. | 1:16:55 | 1:17:00 | |
Too hammy - do you think - even for the mind of Nathan Clore, | 1:17:04 | 1:17:08 | |
to try and put those two clues together? | 1:17:08 | 1:17:11 | |
To think that what he was actually trying to tell us was | 1:17:11 | 1:17:13 | |
that the man standing next to him | 1:17:13 | 1:17:16 | |
was a "phoney". | 1:17:16 | 1:17:17 | |
When they roped you into that grave-digging job is when | 1:17:20 | 1:17:23 | |
it all went south, I'm afraid. | 1:17:23 | 1:17:25 | |
Spring-loaded phantom shoots out of an empty coffin, | 1:17:25 | 1:17:28 | |
and disappears into thin air? | 1:17:28 | 1:17:30 | |
I don't think so. | 1:17:30 | 1:17:31 | |
Far more likely Surtees did leave instructions there, as we thought. | 1:17:46 | 1:17:51 | |
A map, or a plan, or something, | 1:17:51 | 1:17:53 | |
that led you down into that chamber, where it all fell into your lap. | 1:17:53 | 1:17:57 | |
A means of disposal that was just nasty and ritualistic enough | 1:18:02 | 1:18:07 | |
to tick all the boxes. | 1:18:07 | 1:18:10 | |
We know he went outside to take a phone call. | 1:18:11 | 1:18:14 | |
We can only guess who he thought was ringing him - | 1:18:14 | 1:18:17 | |
certainly no-one he wanted his wife to know about. | 1:18:17 | 1:18:19 | |
MUFFLED YELLING | 1:18:24 | 1:18:27 | |
HE SCREAMS | 1:18:48 | 1:18:51 | |
Prospects of it getting traced back to YOU are already pretty slim. | 1:19:00 | 1:19:05 | |
And, with Alison there as a witness, | 1:19:07 | 1:19:10 | |
there's even a chance that it'll be put down to the "evil forces" | 1:19:10 | 1:19:14 | |
in the house... | 1:19:14 | 1:19:15 | |
..if you believe in such things. | 1:19:17 | 1:19:18 | |
Ah, well, my flight leaves at 11. | 1:19:24 | 1:19:28 | |
I had thought of squeezing in a bit of supper, but maybe not. | 1:19:28 | 1:19:32 | |
There WAS an evil force in that house. | 1:19:38 | 1:19:41 | |
I think you'll find it's gone now. | 1:19:42 | 1:19:44 | |
Shouldn't we...? | 1:19:51 | 1:19:53 | |
Take a moment to reflect, before we rush to judgment. | 1:19:53 | 1:19:55 | |
Nina's husband - remind me what he does again? | 1:19:59 | 1:20:03 | |
He's a taxi driver. Why? | 1:20:03 | 1:20:05 | |
Course he is. | 1:20:06 | 1:20:07 | |
PHONE BEEPS | 1:20:08 | 1:20:10 | |
Oh. Alison. | 1:20:10 | 1:20:12 | |
Suggesting ten o'clock tomorrow for coffee. | 1:20:13 | 1:20:16 | |
State she'll still be in. | 1:20:18 | 1:20:19 | |
Can you imagine? | 1:20:22 | 1:20:23 | |
-Yeah, here! -Ace! | 1:20:25 | 1:20:27 | |
Yes, yes, yes, yes, yes! | 1:20:27 | 1:20:29 | |
Yeah. One, two, one, two, one, two, one, two! | 1:20:29 | 1:20:31 | |
What are you doing?! | 1:20:31 | 1:20:32 | |
What the hell are you...? Leave that alone! Leave that... | 1:20:32 | 1:20:36 | |
Oh! | 1:20:39 | 1:20:40 | |
Weirdest thing, isn't it? | 1:20:44 | 1:20:46 | |
The way you can feel about someone, that's so intense, and so real... | 1:20:47 | 1:20:53 | |
..and now I have to tell myself that was all a lie. | 1:20:56 | 1:20:59 | |
I suppose I always knew... | 1:21:08 | 1:21:10 | |
..when I came back here. | 1:21:12 | 1:21:14 | |
It's like... | 1:21:16 | 1:21:17 | |
..my eyes were going to be opened to stuff you'd never want to see. | 1:21:19 | 1:21:22 | |
The truth he spoke about in that letter | 1:21:25 | 1:21:28 | |
troubled him every hour of every day. | 1:21:28 | 1:21:31 | |
When I realised, for whatever reason, you hadn't read it... | 1:21:33 | 1:21:37 | |
I don't know - was it my place to say something? | 1:21:37 | 1:21:40 | |
And then...events just seemed to take over, and... | 1:21:42 | 1:21:46 | |
Anyway, I just wanted to say thanks. | 1:21:50 | 1:21:54 | |
It was me that dragged you into all this, so... | 1:21:54 | 1:21:57 | |
If I'd just been a bit smarter, in the first place... | 1:21:57 | 1:21:59 | |
I'm sorry. | 1:22:01 | 1:22:03 | |
He was a very clever man. | 1:22:03 | 1:22:05 | |
Found his way into this no trouble, at any rate. | 1:22:10 | 1:22:13 | |
I suppose it suited his purposes to keep me in the dark, until... | 1:22:13 | 1:22:17 | |
Basically, what killed my mum and my sisters... | 1:22:21 | 1:22:26 | |
I can't even try to pronounce it. | 1:22:29 | 1:22:31 | |
You hear about these very rare blood diseases. | 1:22:33 | 1:22:35 | |
This one was, like, only a handful of cases ever recorded. | 1:22:39 | 1:22:44 | |
In the space of 18 months... | 1:22:44 | 1:22:45 | |
Three lives. | 1:22:48 | 1:22:49 | |
All down to some shared gene or other. | 1:22:51 | 1:22:55 | |
And so unpredictable. | 1:22:57 | 1:23:00 | |
There was no way of telling whether I'd last a month, a year, or... | 1:23:00 | 1:23:03 | |
So, wow. You know? | 1:23:07 | 1:23:09 | |
This place, for you, then, held only horrors. | 1:23:10 | 1:23:13 | |
While there was still a chance you might have a life ahead of you, | 1:23:16 | 1:23:19 | |
he felt the kindest thing was... | 1:23:19 | 1:23:21 | |
Then, in the end, with his own time running out, | 1:23:23 | 1:23:27 | |
and the risk you might be planning a family... | 1:23:27 | 1:23:29 | |
So all those scary stories about... | 1:23:34 | 1:23:36 | |
Little worlds you build as a child. | 1:23:38 | 1:23:41 | |
You never really leave, do you? | 1:23:43 | 1:23:44 | |
And now, obviously... | 1:23:49 | 1:23:51 | |
# Ring a ring o' roses... # | 1:23:56 | 1:23:59 | |
Can I ever bring myself to imagine what she had to go through? | 1:23:59 | 1:24:03 | |
SHE GASPS | 1:24:18 | 1:24:20 | |
SILENCE | 1:24:46 | 1:24:49 | |
Leukocytes and lymphocytes. White cells and red cells. | 1:25:05 | 1:25:10 | |
At five years old, what other sense could I make of that word? | 1:25:11 | 1:25:15 | |
The haemoglobin... | 1:25:16 | 1:25:17 | |
Just seemed like it had the power of life and death and... | 1:25:22 | 1:25:26 | |
..whatever it was, one day it would come for me. | 1:25:28 | 1:25:31 | |
It hasn't yet. | 1:25:33 | 1:25:34 | |
Maybe it never will. | 1:25:38 | 1:25:39 | |
It is a far, far better thing that I do than I have ever done. | 1:25:53 | 1:25:57 | |
Come again, Mr Creek? | 1:25:57 | 1:25:58 | |
Ah, there you go. | 1:26:00 | 1:26:03 | |
Well done. That wasn't easy. | 1:26:03 | 1:26:05 | |
Listen, I really do appreciate this. | 1:26:07 | 1:26:10 | |
What can I say? | 1:26:11 | 1:26:13 | |
Yeah, this is definitely going to work. | 1:26:13 | 1:26:15 | |
And I think, with the big ping-pong ball eyes... | 1:26:15 | 1:26:18 | |
Oh, yeah, that'll be wicked. | 1:26:18 | 1:26:19 | |
It'll be hysterical! | 1:26:19 | 1:26:20 | |
Congratulations, congratulations, | 1:26:20 | 1:26:23 | |
one and all, on a most splendid joint effort, if I may say. | 1:26:23 | 1:26:27 | |
And I hope you'll all agree - the best man won? | 1:26:28 | 1:26:31 | |
Oh, definitely. | 1:26:31 | 1:26:32 | |
Definitely! | 1:26:41 | 1:26:42 | |
Big improvement on your first draft, by the way. | 1:26:44 | 1:26:47 | |
Phill Jupitus - not that well-known round here. | 1:26:47 | 1:26:49 | |
Well done! Congratulations! First prize! | 1:26:55 | 1:26:58 | |
Come on, Miss, have a photograph. | 1:26:58 | 1:27:01 | |
You know there is a hosepipe ban in this village? | 1:27:01 | 1:27:03 | |
LAUGHTER | 1:27:03 | 1:27:05 | |
Looking for...? | 1:27:08 | 1:27:09 | |
Oh, no, just a final rummage. | 1:27:10 | 1:27:13 | |
All done now. | 1:27:15 | 1:27:16 | |
Won't be sorry to see the back of it all. | 1:27:19 | 1:27:21 | |
Little worlds you build, as a child. | 1:27:24 | 1:27:28 | |
Hobgoblins. And pixies. | 1:27:28 | 1:27:30 | |
I know. Those tiny letters your brother wrote. | 1:27:33 | 1:27:36 | |
Probably found them all when I got older, you know, | 1:27:38 | 1:27:41 | |
and just chucked them, like you do. | 1:27:41 | 1:27:43 | |
To prove you didn't believe in fairies. | 1:27:44 | 1:27:48 | |
He'd never have wanted me to keep them. | 1:27:48 | 1:27:50 | |
No. | 1:27:50 | 1:27:51 | |
You don't really think I liked wearing bras? | 1:28:02 | 1:28:04 | |
Hey, we live in enlightened times. | 1:28:04 | 1:28:07 |