Crossing the Line The Doctor Blake Mysteries


Crossing the Line

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Transcript


LineFromTo

Excuse me.

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Thanks.

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-Two tickets, please.

-Two tickets.

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-Hello. Just for one please.

-Two and six, thank you.

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-Thank you.

-Next, please.

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GENERAL CHATTER

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Give us a box of matches, Bell.

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-Mrs Beazley?

-Oh! Hello, Amelia.

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-Patrick.

-Hello.

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-Congratulations, by the way.

-Thank you.

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-Where is your fiance?

-Oh, he's just running late.

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-'Amelia!'

-Excuse me. Bell.

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-You OK?

-Good to see you. How are you?

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Cigarettes! Popcorn! Anyone?

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-Cigarettes!

-Uh, Miss?

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Just some mints, thanks.

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Ooh! Oh!

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-Oh, I'm sorry.

-There you are.

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Thanks, that's kind of you. Thanks very much.

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AUDIENCE GROANS

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Everyone! We need to evacuate this area now.

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Stay calm. Make your way to the nearest exit.

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Adam? Adam!

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-What's going on?

-Paddy, help me. Adam's in there.

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-Jesus. Ah!

-Is someone in there?

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Yes, it's my projectionist. It's locked.

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Here, give me that.

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You all right in there?

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Hey, you all right?

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MAN COUGHS

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He's...he's not breathing.

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I'll call the fire brigade. Somebody get some buckets.

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What's happening?

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Paddy?

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Adam!

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-Jean.

-All's fine here, but...

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Right.

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-Charlie.

-Hello, Doc.

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By the time I got there, there was a lot of smoke coming from...

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How was the club?

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Peaceful.

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This is Adam Summers. He was the projectionist here.

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Yes. Minimal burns.

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Oh, goodness. A lot of smoke, eh? That's what they said.

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And I see they tried CPR.

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Richard Taylor, this is Doctor Lucien Blake.

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Oh, Richard.

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Mr Taylor pulled Summers out from the room.

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Had to kick the door in. He wasn't breathing when I got him out.

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Fair to say you took quite a risk dragging him out of there.

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Mr Taylor is the captain of the Adelaide Metro Fire Station.

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Calculated risk, really. Still, couldn't save him.

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-Well, at least you tried.

-Thank you.

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-Excuse me.

-Richard.

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Well, cause of death, smoke inhalation, asphyxiation.

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I'd put a bottle of scotch on it.

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-No, no. I lost the last bet.

-Come on, Lawson.

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Where's your sense of adventure?

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Sorry, where are my manners? Hello again. Richard Taylor.

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Body mostly untouched by fire.

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Small burns on the back of the right hand.

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Ah, ember burns? Sparks?

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I'd say it was the hand closest to the fire.

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Yes.

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-What kind of job is a projectionist?

-Projectionist?

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Well, he looks after the machinery that projects the images,

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uh, screens the pictures at the cinema.

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-I've never been.

-To the Rex? Oh, you should go.

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-It's...it's a beautiful building.

-No, I mean to the cinema.

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-Ever?

-That's right.

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Colouration indicates carbon monoxide poisoning.

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And smoke inhalation, obviously.

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Bruising on the chest consistent with CPR and petechiae.

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-Petechiae?

-Yes.

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Rupturing of the minor capillaries of the eyes,

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consistent with applied force to the neck.

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-Yes, thank you. I know what it is.

-You didn't check.

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No, uh, visible trauma to the neck, no bruising.

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Did something fall on him? Debris from the fire?

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No.

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Obviously, he was breathing when the fire started.

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Then why didn't he get out of there?

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Perhaps he was unconscious when the fire started.

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How?

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Lawson.

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You mind? I'm on a Code 30.

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Yes, well, I'm sorry to interrupt your lunch,

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but the presence of soot and ash in the windpipe and lungs.

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Presence of carbon monoxide at fatal levels in bloods and tissue samples.

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All indicators of asphyxiation due to smoke inhalation.

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What's this subcutaneous bruising?

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Well, underneath the skin there was evidence of force

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having been applied to the throat, over the carotid artery.

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Enough force, it would seem, to have rendered him unconscious.

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Applied how?

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The pattern of bruising suggests something...something broad.

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-Perhaps a forearm, you see?

-Yeah, like a choke hold?

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Yes. Maintained until he lost consciousness.

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-How long would that last for?

-Oh, anything up to two minutes.

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The point is this someone was with him, they knocked him out,

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and they left him there to die.

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-You owe me a bottle of scotch.

-Yes.

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Davis? We're on a Code 31.

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I'm not familiar with that one, sir.

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Blake and I are going to the pictures. You can answer the phones.

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Yes, I've already started cleaning up.

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I'll need you to keep out of the projection booth for the time being.

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-But I have to reopen.

-Not until we say you can.

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Why was the door locked?

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It stops patrons barging in during the screenings.

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We used the sand buckets to put it out.

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There wasn't much actual flame, just a lot of smoke.

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Right. Tell me, was Mr Summers a smoker?

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Of course, he was.

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I warned him, though, don't do it near the prints.

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But that's not so much of a problem these days, is it?

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There might have been some nitrate prints stored with the others.

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You kept nitrate prints in here?

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I...I might have kept some, after the recall.

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In this very room, with your smoking projectionist?

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Thank you, Mr McLaren. We'll call you if we need you.

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Unbelievable.

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What do you make of it?

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Well, tiny room, no windows, no other exit.

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They close this door, the room's as good as sealed.

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The fire would have burned up all the oxygen pretty damn quickly.

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Well, there's no cash.

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Receipts and notes.

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Let's think about this.

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High heat. Lots of smoke, especially with that door closed.

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Let me see.

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Hmm. Acetate. Smells like vinegar.

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Yeah, I'll take your word for it.

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Yes.

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And yet that doesn't smell of vinegar. Odd.

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Lawson, what's that rectangular tin or whatever that is there?

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Acetone.

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Ah, it smells the same.

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-Acetone's highly flammable.

-Right.

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Especially when combined with nitrate film stock.

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This fire was deliberately lit.

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-Summers was alive when the fire started.

-Yes.

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-You go through the foyer to get into here.

-So?

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Whoever did this bought a ticket, or didn't have to.

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'Deliberately?'

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Who'd do a thing like that?

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I'll need a list of all your employees

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that were working last night.

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Uh, Bella the cigarette girl, me and Adam.

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And a list of all the patrons that you can remember.

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Oh, it was a pretty quiet session.

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Slow sales, 20, 25 people, that's all.

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Is there anything else I can help you with?

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We'll let you know.

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Why would he want to kill his projectionist?

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And set a fire inside his very own cinema?

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I'll talk to a few more people, then I'll bring him in.

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Hey. How much of the film did you miss last night?

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Oh, I didn't see much of it really.

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No great loss. It wasn't the usual Jimmy Stewart film. It was...

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Oh, your friend Amelia was there, with her brother, Patrick.

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Such a lovely boy. And he's so good to his sister.

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I suppose he'll be there tomorrow night at the party.

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Yeah, I'm not listening.

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Lucien, are you going to join us any time soon?

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Not very airtight, is it?

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Is that a good thing?

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Well, not if you want to asphyxiate someone.

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I'll keep that in mind.

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Jean, how many people were in the cinema, would you say?

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I have no idea, but it was jam-packed.

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-Really?

-Mm.

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That's not what the manager said.

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Hm. How's the study going?

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It's interesting.

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Even if certain people are more intent on matchmaking.

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-I'm allowed to make suggestions.

-What?

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Patrick Yorke. Jean's hopeful for me.

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Oh. Yes, isn't he that lovely chap who helped break the door down?

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-See?

-I thank you, both of you, but I am fine.

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PHONE RINGS I'll get that.

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Oh, Mattie.

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-Doctor Blake's residence.

-Not interested, eh?

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-Oh.

-Don't you start.

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Can you...? I just need to take this in another room.

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I have essays that need attention.

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He seems like a perfectly lovely chap.

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Excuse me, I'm just going to take that in the study.

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Hm, certainly.

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Mattie, you listen to me. You don't have to work all the time.

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Well, I'll remember that next time I see you at your desk at 2am.

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Touche.

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INDISTINCT CHATTER

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Well, that depends if he's here,

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so I don't forget...

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It all depends on what he wants to do.

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So, really, I don't need to ask permission,

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but I can probably say 6.30?

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-Busy day, eh?

-Yeah.

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I've been interviewing people all morning who were at the pictures.

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Mr Yorke, Mr Foster. Amelia.

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Just take any seat you can.

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Amelia, pleased to not have seen you in here recently.

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Yes, I've settled down since then, Superintendent.

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-Glad to hear it.

-We've already given a statement.

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We just want to go over some details.

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-Name?

-Bella Stapleton.

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22 Peel Street North.

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My, policemen are getting more handsome every day.

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Occupation?

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I sell cigarettes and popcorn at the Rex Cinema.

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Other odd jobs. Whatever Mr McLaren wants.

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And roughly how many patrons were in the auditorium yesterday?

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The place was full.

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Did you see anyone leave their seats during the screening?

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Oh, a few people. I went to the toilet.

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Oh, I went out to look for Vincent.

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I was running late. I missed the film entirely.

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Got there when all the action was happening.

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-Did you see anyone else in the foyer?

-Just the other patrons.

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Miles, the manager.

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-What was he doing?

-Gypping people, probably.

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Patrick.

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I did some carpentry work for him a month ago,

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he still hasn't paid me.

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And I've only just gotten my business out of the red.

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Miles hated Adam. They were always fighting.

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-What about?

-Oh, lots of things.

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Miles was tight. Adam was sleazy.

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Sleazy? How?

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He just was.

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What sort of work did you do for him?

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Repairs, joinery.

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I built the door we had to break down.

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The door to the projection booth?

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Nothing wrong with the old door, but Miles wanted a door that sealed.

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Did you hear any of their arguments?

0:16:060:16:08

A lot of them.

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But there was one a few weeks ago.

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Um, Adam was showing movies to his friends. After hours.

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Right.

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We heard someone yell, "fire".

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We could see it in the booth, so we ran out to the foyer.

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-Right.

-What was Mr McLaren doing?

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Not much. He was pretty useless, really.

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We were lucky the other bloke came along.

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He was the one who broke the door down.

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-You said the door was locked.

-Yes.

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But wouldn't Mr McLaren have a key?

0:16:380:16:41

I would have thought so.

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Thank you. That'll be all.

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-Anything else, Miss Stapleton?

-I don't think so.

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Well, thank you. You can go.

0:16:530:16:55

You know, it wouldn't hurt you to smile once in a while.

0:16:590:17:03

Go back and speak to that manager.

0:17:060:17:07

There's been some discrepancies in what he's been telling us.

0:17:070:17:10

-Take the Doctor with you.

-Yes, sir.

0:17:100:17:13

She was an attractive young woman.

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I'm surprised you didn't ask her out.

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Like I said, it was a pretty quiet day yesterday.

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You can see from the ticket sales.

0:17:460:17:48

Ah. Must make it hard to earn a living.

0:17:480:17:51

It sure does.

0:17:510:17:53

Any chance you might have recognised some of the, what,

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20 people you sold tickets to?

0:17:590:18:01

We're keen to see everyone who was here.

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No-one comes to mind.

0:18:040:18:06

Really? No regulars?

0:18:060:18:09

I'm pretty busy on a work day.

0:18:090:18:11

It must be tough losing a worker like Adam Summers.

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Yeah. He was a great bloke.

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Good worker?

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Not bad at all.

0:18:320:18:35

Despite the fact that he brought his mates in for private showings?

0:18:350:18:39

-You find anything?

-No. No, I didn't.

0:18:450:18:50

How did you get on with the manager?

0:18:500:18:52

Well, he's helping us with our enquiries.

0:18:520:18:54

He sells tickets, doesn't tear up the stub,

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then resells the ticket for the next customer.

0:18:580:19:01

He's robbing the distributor, then falsifying the records.

0:19:010:19:04

-What about Summers?

-Mm. A lot of arguments.

0:19:040:19:08

Summers was screening films for his mates, after hours.

0:19:080:19:11

McLaren objected, then got a new door fitted for the booth.

0:19:110:19:15

He's in the interview room now.

0:19:160:19:18

-I'll join you.

-Sir.

0:19:190:19:21

I didn't mind the first time that he invited all his mates...

0:19:470:19:51

Lawson, Charlie, a quick word?

0:19:520:19:55

Take a seat, we'll be with you in a moment.

0:19:580:20:00

What?

0:20:020:20:03

Summers lived at 9 Erlandson Avenue.

0:20:030:20:06

Why would he have a four-poster wrought iron bed

0:20:060:20:08

delivered to Ealing Estate, Wicklow Drive?

0:20:080:20:10

-Ealing Estate?

-Yes.

0:20:110:20:13

I found that receipt and this note in his wallet. Look here. Ed.

0:20:130:20:18

The Tyneman family own Ealing Estate.

0:20:180:20:21

And Patrick has a son named Edward.

0:20:210:20:23

Charlie, any sign of a four-poster wrought iron bed

0:20:230:20:26

when you searched Summer's flat?

0:20:260:20:28

No. It was a single bed.

0:20:280:20:30

He had an old camera and some movie posters. The place was tiny.

0:20:300:20:34

Right. We'll talk to Edward Tyneman tomorrow.

0:20:340:20:36

But this note details an event happening tonight.

0:20:360:20:39

Tomorrow. I'll ask him how he knows Summers.

0:20:390:20:42

-You leave Tyneman alone.

-Scout's honour.

0:20:420:20:46

Not much of a scout, then?

0:22:420:22:44

Truth is, I never joined.

0:22:440:22:46

Every other room's a mess.

0:22:460:22:48

But this one's been decorated and swept clean.

0:22:480:22:52

-Just this room?

-Mm.

0:22:520:22:54

No-one's lived here for decades.

0:22:540:22:57

You said the place belonged to Tyneman.

0:22:570:22:59

His great-grandfather built it,

0:22:590:23:01

then Patrick's father built closer into town.

0:23:010:23:04

What do you make of this?

0:23:060:23:08

Someone's been held here.

0:23:100:23:11

I'll get the boys to search the property,

0:23:110:23:13

then I'll talk to Patrick tomorrow.

0:23:130:23:16

Uh, sir, the mail's not addressed to Patrick Tyneman.

0:23:160:23:20

It's addressed to Edward Tyneman. Looks like he's the official owner.

0:23:200:23:25

And there is that thing at the Carringbush tonight,

0:23:250:23:28

organised by Ed, which Summers was invited to.

0:23:280:23:33

Well, unlike you, I don't have a direct line to the Tynemans.

0:23:330:23:37

We'll make sure no-one else is at risk here,

0:23:380:23:40

then I'll talk to Patrick tomorrow.

0:23:400:23:42

Tomorrow.

0:23:420:23:43

MUSIC PLAYS FROM INSIDE

0:23:500:23:52

-O'Brien.

-Davis.

0:24:020:24:05

-Where are you going?

-To a hen's night.

0:24:050:24:09

I'm not sure you're invited.

0:24:090:24:11

Whose hen's night?

0:24:130:24:15

Amelia Yorke and Vincent Foster.

0:24:150:24:17

You don't know them.

0:24:170:24:19

What, men and women together?

0:24:190:24:21

It is the '50s.

0:24:210:24:23

Ugh, different rooms!

0:24:250:24:27

Hey, O'Brien.

0:24:270:24:28

What does Edward Tyneman have to do with all this?

0:24:290:24:32

He's Vincent's best friend.

0:24:320:24:34

-Is there anything else?

-Have a great night.

0:24:350:24:38

I will.

0:24:390:24:41

Ooh, Mattie! Oh, my God! You made it.

0:24:560:24:59

-Only just. Only just.

-You OK?

0:24:590:25:02

Mattie! Finally. You need a drink. Darling, you are thirsty, I'm sure.

0:25:020:25:06

-Will! Will! Three, please. Thank you.

-OK, maybe just the one.

0:25:060:25:10

Oh, Amelia, it is a hen's night and you are the hen, darling.

0:25:100:25:15

To Amelia and Vincent.

0:25:150:25:17

Oh, no, no, no, no, you are finishing that,

0:25:190:25:21

and then we're getting you another.

0:25:210:25:23

-Mm-hmm.

-And another.

-OK.

0:25:230:25:25

Oh, sweetie, you've become such a bore since you've met Vincent.

0:25:270:25:31

-Must be love.

-Yeah, it is.

0:25:310:25:35

Well, then, good for you.

0:25:350:25:37

INDISTINCT CONVERSATION

0:25:460:25:48

..it's nice up there in the hills.

0:25:480:25:50

Oh, I can imagine it is.

0:25:500:25:52

I've never been to Adelaide, Richard,

0:25:520:25:54

but I have seen the odd postcard and it looks rather hot to me.

0:25:540:25:59

Mm, gotta watch out for the bushfires, of course.

0:25:590:26:01

Yes, I can imagine. Oh, Lucien.

0:26:010:26:03

Oh, I didn't think you were here for dinner.

0:26:030:26:05

-Uh, change of plans.

-Doctor.

0:26:050:26:08

-It's...?

-Richard.

-Of course.

0:26:080:26:11

Excuse me for making myself at home. Jean promised me you wouldn't mind.

0:26:110:26:15

-Not at all.

-Um...

0:26:150:26:17

So, uh, Richard. Tell me, how do you know Jean?

0:26:200:26:25

I dropped my wallet when we were at the pictures,

0:26:250:26:28

and Jean came to my rescue.

0:26:280:26:30

-Oh, hardly.

-And we talked a bit.

0:26:300:26:32

-After the fire.

-Ahh.

0:26:320:26:34

-Richard's from Adelaide.

-I had family here until recently.

0:26:340:26:38

I see. Who?

0:26:380:26:40

My brother, Henry. And his daughter.

0:26:400:26:43

Is that who you stay with?

0:26:430:26:45

Henry passed some months back,

0:26:450:26:48

and after that his daughter, my niece, Rebecca, moved away.

0:26:480:26:52

Oh, I'm so sorry about your brother.

0:26:520:26:55

Richard, do you mind terribly

0:26:590:27:01

if I ask you a couple of questions about that fire?

0:27:010:27:04

-Oh, Lucien, no!

-It's all right. Of course.

0:27:040:27:08

It appears it was deliberately lit, using acetone as an accelerant.

0:27:080:27:13

-Acetone's highly flammable.

-And fairly toxic, yes?

0:27:130:27:16

In a small room, especially if it's airtight.

0:27:160:27:19

-That's horrible.

-Yes, it is.

0:27:210:27:24

Yes, it is.

0:27:240:27:26

What did you want to know?

0:27:260:27:28

Well, how long would it take

0:27:300:27:33

for a small room like that to run out of oxygen?

0:27:330:27:37

Depends on the fire.

0:27:370:27:39

Small room like that, two minutes, maybe less.

0:27:390:27:42

-Really?

-Also depends on what there is to burn.

0:27:420:27:45

Right. Do...?

0:27:460:27:50

Well... I'll leave you to it. Thank you.

0:27:520:27:55

If there's anything else about the fire I can help you with...

0:27:550:27:58

Thank you. And please, it's Lucien.

0:27:580:28:01

Thank you, Lucien.

0:28:010:28:02

-Good night.

-Good night.

0:28:070:28:09

-Cheers.

-Cheers.

0:28:090:28:11

Oh, I'm sorry...

0:28:110:28:13

LAUGHTER

0:28:130:28:15

Now I know it's traditional to wish the groom luck

0:28:150:28:17

on throwing his life away.

0:28:170:28:19

And we do. We wish him luck. He's going to need it.

0:28:200:28:24

I mean, we tried to warn him, but he wouldn't listen.

0:28:250:28:28

So, to Vincent, you idiot.

0:28:280:28:31

-ALL:

-To Vincent.

0:28:310:28:33

-Congratulations.

-Thanks, Edward.

0:28:330:28:35

Kind words. I think.

0:28:350:28:37

Just go easy on these. That's the last.

0:28:400:28:43

Apparently the bride is celebrating her hen's party next door.

0:28:430:28:48

-Yeah, that's right. Yeah.

-Are you sure that's a good idea?

0:28:480:28:52

If it was my party, I wouldn't want the missus anywhere near it.

0:28:520:28:56

Well, there's a back room in case anything gets too messy.

0:28:560:28:59

Really?

0:28:590:29:00

I had some entertainment planned, but it fell through.

0:29:000:29:03

You organised all this?

0:29:030:29:05

I just threw some of Dad's money at it.

0:29:050:29:07

My father would sympathise.

0:29:070:29:09

-And you are?

-A ring-in, obviously.

0:29:100:29:13

The name's Charles.

0:29:130:29:15

Edward. Tyneman.

0:29:150:29:18

Vincent seems happy.

0:29:180:29:20

Yeah, well, he's in love, apparently.

0:29:200:29:22

She's beneath him.

0:29:250:29:26

-Want another drink, Charles?

-That'd be great.

0:29:280:29:30

Mrs Vincent Foster.

0:29:340:29:36

I know.

0:29:380:29:39

Mrs Vincent Foster. He's only the richest young man in Ballarat.

0:29:410:29:46

Hey, Bella, be nice.

0:29:460:29:47

You know that's not why I'm marrying him.

0:29:470:29:50

Paddy must be so relieved. To have you off his hands.

0:29:510:29:54

No, he's happy for me.

0:29:540:29:56

And speaking of Paddy...

0:29:560:29:59

Don't. All right?

0:29:590:30:00

She is married to her work. She's happy.

0:30:000:30:03

I've been fending off Jean as well, you know.

0:30:030:30:06

Ever since that fire when Paddy made such a hero of himself,

0:30:060:30:09

trying to save the projectionist.

0:30:090:30:11

What?

0:30:190:30:20

Well, let's just say that's one person we won't be missing.

0:30:210:30:24

More shandies?

0:30:260:30:28

I'm telling you, once it's your turn, you'll find one,

0:30:300:30:33

and then I will be your best man.

0:30:330:30:35

I will be your best man!

0:30:350:30:37

Rather curious, aren't you, Charles?

0:31:000:31:03

Hey.

0:31:040:31:05

I've checked, and no-one here seems to know you.

0:31:060:31:11

Or your father. So why are you here?

0:31:110:31:14

That's a 16mm projector.

0:31:150:31:18

-Oh, you a fan?

-Are you?

0:31:180:31:20

How did you know Adam Summers?

0:31:210:31:23

I'll go now, shall I?

0:31:280:31:30

-How have you been, Charles?

-Right this way, please.

0:31:500:31:54

My father sends his regards, Superintendent.

0:31:540:31:57

Shall I just sit here?

0:31:590:32:00

Council documents show that you're the owner of Ealing Estate.

0:32:070:32:11

-Is this correct?

-Yes.

0:32:110:32:13

It would show your father gifted you the property three years ago.

0:32:130:32:17

When was the last time you were there?

0:32:170:32:19

A year ago.

0:32:190:32:21

Exactly one year ago?

0:32:210:32:24

Pretty much.

0:32:240:32:26

Who maintains the property, if you don't?

0:32:260:32:28

Have you seen it, Superintendent?

0:32:280:32:31

There have been some changes made recently. Some furniture delivered.

0:32:320:32:35

A wrought iron bed was installed upstairs.

0:32:350:32:38

Squatters. Clearly.

0:32:380:32:41

Adam Summers was a projectionist at the Rex Cinema.

0:32:420:32:45

He was murdered two days ago. Did you know Adam Summers?

0:32:450:32:49

No.

0:32:490:32:51

And yet he had furniture delivered to your property.

0:32:510:32:55

As I said...squatters.

0:32:550:32:59

We found a note on him. "Carringbush Hotel, 8pm, Ed."

0:33:000:33:07

You organised a joint buck's and hen's night

0:33:100:33:12

at the Carringbush Hotel last night.

0:33:120:33:14

-Your name's Ed.

-No, it's Edward.

0:33:170:33:20

There's a difference.

0:33:200:33:22

So maybe you should ask someone else.

0:33:220:33:24

I've been helpful today.

0:33:260:33:28

But if you want to speak to me again,

0:33:290:33:31

you'll be dealing with the family lawyer.

0:33:310:33:34

Well, I think Charlie might be on the right track here.

0:33:450:33:50

-You still holding the manager?

-Hm.

0:33:500:33:52

Good. I'd like to have another look at that projection booth.

0:33:520:33:56

-You mind if I take Charlie?

-What are you looking for?

0:33:560:33:59

The question we've been asking is, why would someone kill Summers?

0:33:590:34:03

And we have absolutely no idea.

0:34:030:34:05

Perhaps the better question would be, why would someone light a fire?

0:34:050:34:09

So, Doc, what are you thinking?

0:34:090:34:13

I don't know. I just...

0:34:130:34:16

I just don't know.

0:34:170:34:19

Charlie, you've just put a choke hold on Summers, yes?

0:34:190:34:24

Uh, how did I get in?

0:34:240:34:26

Oh, say you're the manager of the cinema. You've got a key.

0:34:260:34:29

Or...or just maybe I'm Edward Tyneman and Summers knows me.

0:34:290:34:34

You be careful. You're starting to sound like me.

0:34:340:34:37

Now, you argue, or you don't.

0:34:370:34:40

Bear with me for a second, would you?

0:34:400:34:43

Now, somehow...somehow you manage to get a choke hold on him, yes?

0:34:430:34:48

And you maintain that hold until he's unconscious.

0:34:480:34:53

All right. All right, so I'm strong.

0:34:530:34:56

But you have barely two minutes. Two minutes to start a fire.

0:34:560:35:00

-Well, why don't I just kill him?

-Maybe that's not your intention.

0:35:000:35:04

What, so I just want to burn the place down?

0:35:040:35:06

Ahh! But this door, this door closes,

0:35:060:35:10

sealing the room, and the fire smoulders down.

0:35:100:35:13

Maybe I don't get that.

0:35:130:35:16

Maybe you do.

0:35:160:35:18

Maybe you do. But why, why do you do it here?

0:35:180:35:22

Well, because nitrate burns like nothing else on earth, that's why.

0:35:230:35:28

What?

0:35:360:35:38

This film.

0:35:380:35:39

This is 16mm.

0:35:400:35:42

Normally, film used for general exhibition is 35mm.

0:35:420:35:49

There seems to be a lot of this 16mm stuff here.

0:35:500:35:53

Edward Tyneman. He had a 16mm film projector at that party last night.

0:35:530:35:59

-You sure Mrs Beazley won't mind?

-Oh, she's used to me making a mess.

0:36:030:36:07

Not quite what I meant.

0:36:070:36:09

Mattie! Have you ever edited film before?

0:36:090:36:13

Can't say that I have.

0:36:130:36:15

Well, this was amongst the film stock at the cinema.

0:36:150:36:18

It's 16mm, not meant to be there.

0:36:180:36:20

So, we're going to clean it, we're going to cut away the damage

0:36:200:36:23

and we're going to stick it together.

0:36:230:36:25

-With what?

-Sticky tape.

0:36:250:36:27

-Why?

-Well, because we're out of ideas.

0:36:270:36:30

All right.

0:36:330:36:34

DOOR OPENS

0:36:420:36:44

Ah!

0:36:440:36:45

-You keep up a fair pace.

-Yes, well, I have to around here.

0:36:450:36:48

-Oh, cup of tea, Richard?

-Lovely.

0:36:490:36:53

-Lucien?

-In here!

0:36:530:36:56

What's through those doors?

0:36:560:36:58

(It's his mother's room apparently. He keeps it locked.)

0:36:580:37:02

Don't even think about it, Charlie.

0:37:020:37:04

-Oh, what's going on?

-Uh, the film from the fire.

0:37:070:37:11

We've managed to splice it together. Evidence.

0:37:110:37:14

Is that...?

0:37:140:37:16

That's the room in Tyneman's house.

0:37:160:37:18

Yes. Bloody Tyneman's. Edward this time, not Patrick.

0:37:190:37:24

Oh, the son of a local businessman.

0:37:240:37:28

That's...a girl.

0:37:310:37:33

What's she doing?

0:37:360:37:38

-Oh, Lucien!

-Jean.

0:37:420:37:44

-Jean! Jean, I'm...

-What the devil?!

0:37:440:37:47

Richard. Richard, please!

0:37:470:37:49

MATTIE GASPS

0:37:540:37:55

Mattie, are you all right?

0:37:550:37:59

What is it?

0:37:590:38:00

The birthmark. I know who that is.

0:38:000:38:03

Please.

0:38:070:38:08

Thanks for coming in, Amelia.

0:38:080:38:11

Take a seat over here.

0:38:110:38:13

Um...I'm afraid...

0:38:150:38:19

I'm afraid what I have to tell you...

0:38:190:38:23

HE SIGHS

0:38:230:38:24

..is going to come as unwelcome news.

0:38:240:38:27

Um, with this investigation into Mr Summer's death,

0:38:270:38:32

some 16mm film was found in the projection booth.

0:38:320:38:36

Now, it was damaged somewhat...

0:38:360:38:39

..but we managed to piece it together and view it.

0:38:410:38:45

It was pornographic,

0:38:470:38:49

and you were in it.

0:38:490:38:51

-Does Mattie know?

-I'm afraid so.

0:38:550:38:58

Tell me, how...how did this happen?

0:39:010:39:04

After my parents died, I really went off the rails.

0:39:070:39:11

My brother was always there for me.

0:39:120:39:15

What does Paddy have to do with this?

0:39:150:39:17

He borrowed some money to start a business,

0:39:170:39:20

but then he couldn't pay it back.

0:39:200:39:22

I see.

0:39:220:39:24

Who did he borrow money from?

0:39:250:39:27

Edward Tyneman?

0:39:290:39:31

He said that I could pay back all of Paddy's debts...

0:39:330:39:36

..if I let him film me.

0:39:380:39:39

HE SIGHS

0:39:390:39:41

Of course.

0:39:410:39:43

When was this?

0:39:440:39:47

Um, about six months ago.

0:39:470:39:49

I hadn't met Vincent yet.

0:39:490:39:51

And does Paddy...?

0:39:540:39:56

Does he know about this?

0:39:560:39:58

He found out. Men started...

0:40:000:40:03

-Yes.

-He was so angry.

0:40:050:40:08

I wasn't the only one.

0:40:110:40:13

There were other films, other girls.

0:40:130:40:15

-I'm so sorry.

-Ah, Amelia.

0:40:170:40:21

I feel so dirty.

0:40:210:40:23

Well, you're not. Not at all.

0:40:230:40:27

Just promise me you won't tell Vincent.

0:40:280:40:31

How is she?

0:40:380:40:40

Well, she's feeling...ashamed.

0:40:400:40:44

You know, she is never going to talk to me again

0:40:440:40:47

because I saw her doing that.

0:40:470:40:50

Listen, you did the right thing.

0:40:500:40:54

Terrible, Jean.

0:40:570:40:59

Trying to pay off her brother's debts.

0:40:590:41:02

-Oh, that poor girl.

-Yes.

0:41:020:41:05

Thank you. Um, by the way...

0:41:050:41:11

I'm sorry Richard had to see that.

0:41:110:41:15

Are you fond of him?

0:41:160:41:18

Let's not talk about Richard like this.

0:41:190:41:22

Are you fond of him?

0:41:220:41:24

Because if you are, you have my blessing.

0:41:240:41:28

Oh, thank you. I'm so grateful.

0:41:280:41:30

Why don't you organise the reception while you're at it?

0:41:300:41:32

You know, I'm not a fool, Lucien.

0:41:320:41:34

I don't just fall head over heels for any man who pays me some attention.

0:41:340:41:38

-Jean, I was just saying...

-Richard is a very charming man.

0:41:380:41:40

But after he saw that film, he followed me into the garden,

0:41:400:41:43

he got angry and he shouted at me.

0:41:430:41:45

I'm sorry, I had no idea.

0:41:450:41:47

Yes. So, thank you for your blessings, but this time, I'll pass.

0:41:470:41:51

Edward Tyneman's lawyer denies everything. Threatened legal action.

0:41:560:42:00

Can he do that?

0:42:000:42:01

Well, he can make life difficult.

0:42:010:42:03

You think Miss Yorke would go on record against him?

0:42:040:42:07

-No, no, it'd destroy her.

-Constable.

0:42:070:42:09

What do you think?

0:42:170:42:19

About the brother? Certainly plenty of motive.

0:42:190:42:23

But why didn't he go straight after Edward Tyneman?

0:42:230:42:27

Well, perhaps he was next on the list, after he killed Adam.

0:42:270:42:30

And set about destroying the film. What about the manager?

0:42:300:42:34

No, small-time fraud, perhaps, but no, this is different.

0:42:340:42:38

Are we certain the fiance doesn't know?

0:42:400:42:42

Amelia begged me not to tell him.

0:42:420:42:44

She did say, however, there are other girls.

0:42:440:42:47

Probably worth tracking them down.

0:42:470:42:49

Not that they're likely to come forward.

0:42:500:42:52

KNOCKING AT DOOR

0:43:130:43:14

-Lucien.

-Richard!

0:43:140:43:17

-So, this is where you work?

-When I'm not at the surgery, yes.

0:43:170:43:21

-Something I can do for you?

-Jean said you'd be here.

0:43:210:43:25

I wanted to apologise, to both of you.

0:43:250:43:28

-I lost my temper.

-No need to apologise.

0:43:280:43:32

Well, that sort of thing, it's the worst kind of exploitation.

0:43:320:43:36

Young women...

0:43:360:43:38

It's the worst.

0:43:380:43:39

I certainly hope those responsible are caught and punished.

0:43:390:43:43

But, uh, that's still no excuse.

0:43:430:43:47

I shouldn't have lost my temper.

0:43:470:43:49

Well, no harm done, I'm sure.

0:43:490:43:50

Now, listen, how long are you in town for?

0:43:500:43:52

I'm not sure. There are some family matters to attend to.

0:43:520:43:56

Right. I understand.

0:43:560:43:58

Thanks, Lucien.

0:44:000:44:02

-Now listen, dinner sometime, yes?

-I'd love to.

0:44:030:44:06

-Good.

-See you.

0:44:060:44:08

RUSTLING

0:44:490:44:52

Richard.

0:45:000:45:01

Lucien!

0:45:020:45:04

Get out of here, Lucien. Please, just go. Let me...

0:45:060:45:10

And what do I tell Jean? That I just left you here?

0:45:100:45:14

Richard, come on.

0:45:140:45:16

You weren't planning to die tonight and I know I wasn't.

0:45:160:45:18

Please. Please, I'm asking you. Don't...don't do it.

0:45:180:45:22

They told her no-one else would see it.

0:45:340:45:37

Then they travelled up and down the country, showing everyone.

0:45:370:45:42

My brother went into his local and saw his daughter...

0:45:420:45:46

..doing that.

0:45:480:45:50

While all the other drinkers stood around...cheering.

0:45:510:45:57

You got family?

0:46:000:46:03

Yes.

0:46:030:46:04

Well, then, you understand.

0:46:040:46:07

I had to do something.

0:46:090:46:12

Henry's health was never good.

0:46:150:46:18

That as good as killed him.

0:46:180:46:21

Sweet Rebecca dropped her bundle after that.

0:46:210:46:25

Where is she now?

0:46:250:46:27

-Mayday Hills.

-Ahh!

0:46:270:46:30

Committed. Six months ago.

0:46:300:46:33

Said she couldn't bear the thought of her father...

0:46:330:46:38

HE SNIFFLES

0:46:380:46:39

..knowing.

0:46:390:46:40

And the bastard responsible inherits this.

0:46:420:46:46

-He doesn't bloody deserve it.

-No, he does not.

0:46:460:46:50

So...

0:46:520:46:54

..what are you going to do now?

0:46:560:46:59

I'm going to stay with you.

0:47:060:47:08

And wait until you're ready.

0:47:080:47:11

Then together we'll walk out of here and I'll drive you back into town.

0:47:130:47:19

You're going to let me go?

0:47:190:47:21

Then why should I go with you?

0:47:230:47:24

Because you're a decent man, Richard, you are.

0:47:240:47:27

A decent man, in spite of what you've done.

0:47:270:47:30

Adam Summers wouldn't have thought so.

0:47:300:47:33

And I...

0:47:360:47:38

..I think he might be right.

0:47:410:47:44

Jean would expect you to accompany me back to town.

0:47:510:47:55

Really?

0:47:580:48:00

Even now?

0:48:010:48:03

Oh, yes.

0:48:030:48:04

Well...

0:48:090:48:12

I'd better not disappoint her, then.

0:48:120:48:14

The bloke who did this?

0:48:210:48:23

They won't get away with it, I promise you that.

0:48:250:48:28

Is there anything you want to tell us, Mr Tyneman?

0:48:310:48:34

I've already warned you, Mr Lawson.

0:48:340:48:36

My lawyer will be here soon.

0:48:360:48:38

The courts recognise early guilty pleas.

0:48:380:48:41

Then I'll accept nothing less than a full apology.

0:48:410:48:45

Fair enough.

0:48:450:48:47

The constable found something interesting

0:48:470:48:49

while he was going through the footage.

0:48:490:48:51

Stop there. There.

0:49:000:49:03

In the mirror.

0:49:030:49:04

Extortion, false imprisonment,

0:49:090:49:11

the producing of pictures or of a film

0:49:110:49:14

of an indecent, obscene or disgusting nature.

0:49:140:49:18

Is this your doing?

0:49:280:49:30

Is this your doing?

0:49:320:49:35

-Dad.

-Patrick.

0:49:350:49:37

I understand my family lawyer has been contacted.

0:49:530:49:57

So I believe. - I'm calling him off.

0:49:570:50:00

You're on your own.

0:50:020:50:04

What?

0:50:040:50:05

This is not the way our family conducts itself.

0:50:050:50:09

You've forced a young woman to prostitute herself,

0:50:090:50:12

and you've filmed it for your own pleasure!

0:50:120:50:14

-It was for money.

-It's disgusting, and it's illegal.

0:50:140:50:20

Well, that's never stopped you before.

0:50:200:50:22

You're a disgrace.

0:50:240:50:26

I apologise for wasting police resources.

0:50:290:50:33

-Charge him.

-Dad!

0:50:350:50:38

Dad! Dad!

0:50:380:50:41

You OK?

0:50:540:50:55

Let's go.

0:50:570:50:58

Sorry. Can I ask, does my fiance have to know about this?

0:51:010:51:06

He won't hear it from us, Miss Yorke.

0:51:100:51:12

Thank you.

0:51:120:51:14

But you might still consider telling him.

0:51:140:51:17

I understand he loves you.

0:51:170:51:21

Might be worth trusting that.

0:51:210:51:23

Sir?

0:51:340:51:36

Haven't you got some paperwork to do?

0:51:360:51:38

Yes.

0:51:400:51:41

He'll get there.

0:51:470:51:49

Don't tell me you've just washed the sheet we used as a screen?

0:52:000:52:05

-It was already clean.

-Well, it's cleaner now.

0:52:050:52:09

He was a good man, Richard. Mostly.

0:52:140:52:18

There was just something...

0:52:180:52:20

Yes, something...

0:52:210:52:24

..very sad about him.

0:52:240:52:26

The same can be said of a lot of people.

0:52:270:52:30

Yes, but we don't all light fires and kill people, do we?

0:52:350:52:39

No. No, we don't.

0:52:390:52:42

Jean...

0:52:460:52:48

..I am so sorry I offended you.

0:52:500:52:52

I'll never give you my blessing again.

0:52:540:52:57

Oh, just as well.

0:52:570:52:58

Pass me another towel.

0:53:000:53:02

-Thank you.

-You're welcome.

0:53:040:53:06

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