0:00:06 > 0:00:08I suppose this is where everything changes.
0:00:10 > 0:00:12You always told me I was beautiful.
0:00:14 > 0:00:15BELT HITS FLOOR
0:00:16 > 0:00:18You never knew I could be so smart.
0:00:22 > 0:00:24Bet you never thought we'd be doing this together.
0:00:26 > 0:00:28Neither did I.
0:00:37 > 0:00:38Still here, Elaine?
0:00:43 > 0:00:44May as well come in.
0:00:48 > 0:00:51In case you've forgotten, we're looking at skin tones today.
0:00:51 > 0:00:54Of course, some of you have already taken this class before,
0:00:54 > 0:00:56and you know how hard it is.
0:00:56 > 0:01:00Those of you who haven't, good luck.
0:01:01 > 0:01:04We want white, yellow, brown and red on your palettes.
0:01:04 > 0:01:08Orange and green for those of you with pretensions.
0:01:08 > 0:01:10Are we ready?
0:01:11 > 0:01:13SCREAMING
0:02:13 > 0:02:15We all miss Nell.
0:02:15 > 0:02:20Of course you do. She was much nicer than I am.
0:02:20 > 0:02:23- Miss Clasby.- Jean.
0:02:23 > 0:02:24Here you are, Agnes.
0:02:27 > 0:02:29When are you getting rid of all this tat on the walls?
0:02:29 > 0:02:33- Tat? - What about your mother's paintings?
0:02:33 > 0:02:35Where are they?
0:02:35 > 0:02:39You realise the gallery is putting her work into storage?
0:02:39 > 0:02:43They bought one solitary painting, then they go and hide it.
0:02:43 > 0:02:45Her son should be coming to her defence.
0:02:45 > 0:02:47Yes. Well, we'll see you again in a couple of days.
0:02:47 > 0:02:50And we'll check that blood pressure for you.
0:02:50 > 0:02:54Oh, bah to blood pressure! We loved your mother.
0:02:54 > 0:02:56We're all she has left, Lucien.
0:02:59 > 0:03:00I've been at him for ages to go through her old studio.
0:03:00 > 0:03:03- Do you think that he will? - Thank you, Jean.
0:03:03 > 0:03:05- PHONE RINGS - Excuse me, ladies.
0:03:08 > 0:03:09Yes? Dr Lucien Blake.
0:03:09 > 0:03:11- Did we upset him?- Oh, I hope so.
0:03:11 > 0:03:13- Good. - Of course. I'll be right there.
0:03:13 > 0:03:16Jean, I'm needed at the College of the Arts.
0:03:16 > 0:03:18Wonderful!
0:03:18 > 0:03:20It'll give you a chance to talk to the gallery about her paintings,
0:03:20 > 0:03:22won't it, Lucien?
0:03:22 > 0:03:25- Lovely to see you, Agnes. - You don't mean that at all.
0:03:25 > 0:03:27You know I do.
0:04:21 > 0:04:24Her name is Virginia Mackay, life model.
0:04:24 > 0:04:27Last seen about an hour ago entering the building.
0:04:29 > 0:04:31They cut her throat.
0:04:31 > 0:04:34- What with? - I don't know.
0:04:34 > 0:04:36Davis, any sign of a murder weapon?
0:04:36 > 0:04:39No. Nothing, boss. Just...lots of blood.
0:04:39 > 0:04:44Charlie...what's through there?
0:04:44 > 0:04:47Uh, a back stairwell that heads down to the potters' studio,
0:04:47 > 0:04:49and then out to an alleyway.
0:04:49 > 0:04:52I reckon whoever it was came in and out through there.
0:04:52 > 0:04:55Well, let's say she was attacked here.
0:04:55 > 0:04:59She was undressing. She was interrupted.
0:04:59 > 0:05:01Hadn't removed her slip or her underwear.
0:05:01 > 0:05:05- Was it sexual? - I don't know.
0:05:05 > 0:05:09After she was attacked, she fell here.
0:05:11 > 0:05:13Do we know anything about this girl?
0:05:13 > 0:05:15Yes. She was a regular model for the class.
0:05:15 > 0:05:17And you are?
0:05:17 > 0:05:19Geoffrey Ledwith. I teach this class.
0:05:19 > 0:05:23Mr Ledwith, we're going to need a list of names of all your students.
0:05:23 > 0:05:26You do know she was my girlfriend?
0:05:27 > 0:05:29Ah, er...
0:05:29 > 0:05:33- HE CLEARS THROAT - Mr Ledwith, how about we, erm, sit you down?
0:05:41 > 0:05:44- She was pretty. - She certainly was.
0:05:46 > 0:05:48Were there men in the life class?
0:05:48 > 0:05:50- Yes. Why? - Some men hate attractive women.
0:05:51 > 0:05:55- It's curious. - Yes.
0:05:55 > 0:05:59Alice, would you mind passing me a swab, please?
0:05:59 > 0:06:03I've noticed something here. I'd like to get your opinion.
0:06:06 > 0:06:10Now, what do you make of that?
0:06:10 > 0:06:14Soil? Mud? Where from?
0:06:14 > 0:06:16Already on the blade, perhaps?
0:06:16 > 0:06:19- Did you see her belt buckle? - No. Why?
0:06:19 > 0:06:20Because of this.
0:06:21 > 0:06:23Is that blood?
0:06:23 > 0:06:25No. Some kind of pigment.
0:06:25 > 0:06:27I think you might be right.
0:06:27 > 0:06:30I think you'll find that's alizarin crimson.
0:06:30 > 0:06:31I'm sorry?
0:06:31 > 0:06:33Er...oil paint.
0:06:33 > 0:06:36The colour was originally derived from the madder plant.
0:06:36 > 0:06:38How do you know that?
0:06:38 > 0:06:40My mother was a painter.
0:06:53 > 0:06:54Thank you.
0:07:01 > 0:07:03Doesn't quite go with the uniform.
0:07:03 > 0:07:06Oh, I don't know.
0:07:06 > 0:07:07It was dumped in a bin.
0:07:07 > 0:07:09It's Virginia Mackay's.
0:07:09 > 0:07:11They don't seem to have left any prints,
0:07:11 > 0:07:13but nothing seems to have been stolen.
0:07:13 > 0:07:15- Right. - Wallet, with about five quid.
0:07:15 > 0:07:17Make-up, house keys.
0:07:19 > 0:07:23I don't suppose you saw any... mud in that alleyway?
0:07:23 > 0:07:25Not really, no. Why?
0:07:25 > 0:07:29Oh, it's just a detail that doesn't seem to fit anywhere yet.
0:07:29 > 0:07:30So, what should I be looking for?
0:07:30 > 0:07:34How about a blade with dirt on it, a motive and a killer?
0:07:34 > 0:07:36So, pretty simple, then.
0:07:36 > 0:07:38- Yes.- Excuse me.
0:07:38 > 0:07:43- Am I allowed in yet?- Do you have a reason to be in here, Mr Ledwith?
0:07:43 > 0:07:45Yes. I need to pick up my materials.
0:07:55 > 0:07:58Charlie, come here a moment.
0:08:01 > 0:08:04Mr Ledwith, if I may, whose work is this?
0:08:07 > 0:08:09Elaine Greenslade.
0:08:09 > 0:08:12She was obsessed with Virginia.
0:08:12 > 0:08:16- Interesting painting, Miss Greenslade.- Why?
0:08:16 > 0:08:19It reflects the position we found the dead girl's body in,
0:08:19 > 0:08:20almost too accurately.
0:08:20 > 0:08:24What's more, the girl you've painted bears a...
0:08:24 > 0:08:27well, a remarkable resemblance to Miss Mackay.
0:08:27 > 0:08:29You know what it is, don't you?
0:08:31 > 0:08:34Beneath The Arena, by von Piloty.
0:08:34 > 0:08:36Depicts a human sacrifice.
0:08:36 > 0:08:41It's hanging in the gallery. Everybody knows it.
0:08:41 > 0:08:42Not quite everyone.
0:08:45 > 0:08:49So, why'd you make a copy of it?
0:08:49 > 0:08:54Because she's got the most amazing skin. It's translucent.
0:08:54 > 0:08:59All students copy the masters. That's how we learn.
0:08:59 > 0:09:03- Does the girl in the original look like Virginia Mackay?- Yes.
0:09:03 > 0:09:06Geoffrey Ledwith said that you and Miss Mackay were friends,
0:09:06 > 0:09:09and that you...flatted together.
0:09:09 > 0:09:13He also said that you had a falling-out, and you resented her.
0:09:13 > 0:09:17You should be talking to him. He's the one with the temper.
0:09:17 > 0:09:20Or her horrible boss, Barry Johnstone.
0:09:20 > 0:09:23Did you resent her, Elaine?
0:09:23 > 0:09:27Did you think that she was perhaps more talented than you?
0:09:27 > 0:09:30Of course she was talented.
0:09:30 > 0:09:32She was just never given a chance to show it.
0:09:37 > 0:09:39What?
0:09:39 > 0:09:41Got the director of the gallery here.
0:09:41 > 0:09:43Something about the dead girl's keys.
0:09:43 > 0:09:46Superintendent, I'm Barry Johnstone.
0:09:46 > 0:09:48What's this about?
0:09:48 > 0:09:50Virginia Mackay had a set of keys for the gallery.
0:09:50 > 0:09:53It is really important that I know they're secure.
0:09:53 > 0:09:55Davis.
0:10:00 > 0:10:02Excuse me!
0:10:09 > 0:10:11- They're not the ones.- You sure?- Of course I'm sure.
0:10:11 > 0:10:13No money was stolen.
0:10:13 > 0:10:16Did you find anything else on her? Anything at all?
0:10:16 > 0:10:22- Mr Johnstone, Miss Mackay was murdered.- I do apologise.
0:10:22 > 0:10:24There is a major exhibition coming in from the National Gallery.
0:10:24 > 0:10:28I've promised their works will be secure, and with one set of keys missing...
0:10:28 > 0:10:30Davis, take a statement.
0:10:32 > 0:10:34Shouldn't you be looking at paintings?
0:11:01 > 0:11:03Lucien.
0:11:05 > 0:11:07Lucien, mon cher.
0:11:15 > 0:11:17Lucien.
0:11:19 > 0:11:21HEELED FOOTSTEPS
0:11:31 > 0:11:33HE EXHALES
0:11:37 > 0:11:38HE SNIFFS
0:11:52 > 0:11:54- Excuse me. - Yes?
0:11:54 > 0:12:00Ah, I'm looking for a painting - Beneath The Arena, von Piloty.
0:12:00 > 0:12:02Karl Theodor.
0:12:02 > 0:12:05Karl Theodor von Piloty.
0:12:05 > 0:12:07- Ah.- And I'm showing off now.
0:12:07 > 0:12:11I'm not sure where it's hanging. This isn't my gallery.
0:12:11 > 0:12:14- Oh, I do beg your pardon. - Try the Blue Room.
0:12:16 > 0:12:17Thank you.
0:12:34 > 0:12:35Blake.
0:12:38 > 0:12:40Ah, Patrick.
0:12:40 > 0:12:42I'm surprised to see you here.
0:12:42 > 0:12:46My family is the gallery's chief benefactor.
0:12:46 > 0:12:48I'm chair of the gallery board.
0:12:48 > 0:12:50I'll leave you to it.
0:12:50 > 0:12:52Ross, there you are.
0:12:52 > 0:12:54You found it.
0:12:54 > 0:12:57Macabre, but also quite beautiful, isn't it?
0:12:57 > 0:12:59You know each other?
0:12:59 > 0:13:01Yeah, well, not formally. Brendan Ross.
0:13:01 > 0:13:03Lucien Blake.
0:13:03 > 0:13:06Professor Ross is from the National Gallery.
0:13:06 > 0:13:09Yes, and we're a little nervous.
0:13:09 > 0:13:12We have a few Davies travelling, which are close to priceless.
0:13:12 > 0:13:14They'll be fine. We'd better go.
0:13:14 > 0:13:17The club is very strict about reservations.
0:13:17 > 0:13:20The exhibition opens on Tuesday.
0:13:20 > 0:13:23- Any friend of Patrick's... - Thank you.
0:13:23 > 0:13:24I'll keep that in mind.
0:13:31 > 0:13:36Doc, the boss wants us to search the dead girl's flat.
0:13:36 > 0:13:37Right.
0:14:00 > 0:14:05Ah, David Davies.
0:14:05 > 0:14:08- Who's he? - A fairly well-known artist.
0:14:08 > 0:14:11Well, I'll know for next time.
0:14:11 > 0:14:14Now, you took a statement from the gallery director, didn't you?
0:14:14 > 0:14:16Yes. Yes.
0:14:16 > 0:14:20Described the dead girl as mostly competent,
0:14:20 > 0:14:24tended to vagueness and clumsy.
0:14:24 > 0:14:26- Clumsy? - Well, that's what he said.
0:14:26 > 0:14:30Did he say anything specifically about her work?
0:14:30 > 0:14:33"Typically decorative female noodlings."
0:14:33 > 0:14:36Sounds like you didn't like him.
0:14:36 > 0:14:38Broken pottery.
0:14:38 > 0:14:40Seems to be a lot of it.
0:14:43 > 0:14:45GL.
0:14:45 > 0:14:48- That'd be Geoffrey Ledwith. - Well, that's her boyfriend.
0:14:48 > 0:14:51Why would she break all their stuff?
0:14:51 > 0:14:53Oh.
0:14:56 > 0:14:59I thought it was dirt or mud in the wound.
0:15:00 > 0:15:04It may have been potter's clay. Potters use a...
0:15:04 > 0:15:09Potters use a wire to cut their work from the wheel.
0:15:09 > 0:15:12Very fine gauge. No striations.
0:15:29 > 0:15:33Ah. Seemed a shame to throw that pot away.
0:15:33 > 0:15:35Know anything about art?
0:15:35 > 0:15:37I know who David Davies is.
0:15:37 > 0:15:41Well, if it's not perfect, it's not worth keeping.
0:15:41 > 0:15:45- You can't just simply remake it? - Better to start again.
0:15:45 > 0:15:46That's harsh.
0:15:48 > 0:15:49You have to be.
0:15:49 > 0:15:52You didn't tell me you'd been around to Virginia's flat
0:15:52 > 0:15:54the night before she died.
0:15:54 > 0:15:59The neighbours heard the two of you having a very loud argument.
0:15:59 > 0:16:02You care to tell us what happened?
0:16:02 > 0:16:03No.
0:16:07 > 0:16:10That's a dangerous-looking device, isn't it, Charlie?
0:16:10 > 0:16:14Mm-hm. The neighbours said there was screaming and yelling.
0:16:14 > 0:16:15Doors slamming.
0:16:15 > 0:16:17They said you left in a very bad mood.
0:16:17 > 0:16:22But it was after that they heard pottery smashing.
0:16:22 > 0:16:27We looked in her bin. Found a few of your perfect ceramics in there.
0:16:27 > 0:16:28Oh, she'd made a mess of them.
0:16:30 > 0:16:31Careful, Mr Ledwith.
0:16:31 > 0:16:34You could really hurt someone with one of those.
0:16:34 > 0:16:37As a matter of fact, you could slice right through someone's larynx
0:16:37 > 0:16:39with one of those if you wanted to...
0:16:39 > 0:16:41That's what I think of your opinions.
0:16:41 > 0:16:43And on that basis, Mr Ledwith,
0:16:43 > 0:16:46I think you should accompany us to the station.
0:16:58 > 0:17:01How long were you and Virginia Mackay seeing each other?
0:17:04 > 0:17:07We've been told you were together for a period of about six months.
0:17:07 > 0:17:08Is this correct?
0:17:15 > 0:17:19You've been described as a jealous boyfriend, sometimes violent.
0:17:19 > 0:17:20Is this true?
0:17:22 > 0:17:24How often did you hit her, Mr Ledwith?
0:17:29 > 0:17:32- The absence of any comment... - What do you want me to say?
0:17:32 > 0:17:36The truth would be a good start, Mr Ledwith.
0:17:36 > 0:17:38All right, then.
0:17:38 > 0:17:39We had a fight...
0:17:40 > 0:17:42..and I killed her.
0:17:44 > 0:17:46You happy now?
0:17:59 > 0:18:01She was beautiful.
0:18:01 > 0:18:04Yes, she was.
0:18:04 > 0:18:06Do you have the, uh... the potter's wire there?
0:18:06 > 0:18:08- Mm-hm.- Good.
0:18:08 > 0:18:13And if you could hold it just on the other side of the wound there.
0:18:13 > 0:18:15It appears to be the right gauge.
0:18:16 > 0:18:19Seems like a pretty horrible way to go.
0:18:19 > 0:18:22Quick, silent.
0:18:24 > 0:18:26People right on the other side of the door,
0:18:26 > 0:18:28and no-one heard a damn thing.
0:18:28 > 0:18:29DOOR CLOSES
0:18:29 > 0:18:31SPRAYING
0:18:33 > 0:18:36- Luminol?- Yes.
0:18:36 > 0:18:40- You've seen it before, have you? - No, no. I've read about it.
0:18:40 > 0:18:42Right. Erm, Charlie, would you mind
0:18:42 > 0:18:45flicking the switch on the main lights there for me?
0:18:52 > 0:18:54Now...
0:18:57 > 0:18:58Absolutely nothing.
0:19:03 > 0:19:06There's no evidence here to connect Ledwith to the killing.
0:19:06 > 0:19:10I can go back to the station. Tell the boss, if you like.
0:19:10 > 0:19:13Shouldn't you have knocked off by now?
0:19:13 > 0:19:16Well, I don't mind missing another night at the boarding house.
0:19:16 > 0:19:21- Not exactly the most comfortable place in the world.- Yes.
0:19:21 > 0:19:25I'm surprised you haven't rented out a room somewhere.
0:19:25 > 0:19:27Well, I didn't think I'd be staying on so long.
0:19:27 > 0:19:32Well, we have spare rooms at our place,
0:19:32 > 0:19:34if you are planning to stay on.
0:19:35 > 0:19:38Is that your mother's old studio?
0:19:39 > 0:19:42O'Brien said something about it.
0:19:42 > 0:19:46No. No. Erm, we have other rooms.
0:19:47 > 0:19:50Anyhow, you have a think, Charlie.
0:19:52 > 0:19:54Thanks, Doc.
0:21:14 > 0:21:16PHONE RINGS
0:21:16 > 0:21:17I'll get it.
0:21:20 > 0:21:22Is that Charlie?
0:21:22 > 0:21:24Yes. At the gallery.
0:21:24 > 0:21:26I'll tell him immediately.
0:21:29 > 0:21:32We have a major exhibition opening in three days.
0:21:32 > 0:21:34We have three Davies' works on show.
0:21:34 > 0:21:37We had to increase the insurance to cover it, and now that fool tells me
0:21:37 > 0:21:40that a painting's been stolen on his shift!
0:21:40 > 0:21:42Boss wanted you here. Security guard's got asthma.
0:21:42 > 0:21:45What were you doing - sleeping again?
0:21:45 > 0:21:47Well, yelling at him probably won't help that.
0:21:47 > 0:21:49The missing painting?
0:21:49 > 0:21:53It was here, and then when I did my last round, it was gone.
0:21:53 > 0:21:55You have a description?
0:21:55 > 0:21:57It's an oil painting by Herbert Smith.
0:21:57 > 0:22:00- Worth about 100 guineas. - Is that expensive?
0:22:00 > 0:22:04No. We have far more valuable paintings.
0:22:04 > 0:22:05So, why steal it?
0:22:05 > 0:22:08Mr Baldwin, Dr Lucien Blake.
0:22:08 > 0:22:10A little tight of chest?
0:22:10 > 0:22:16Yes. Let's check that pulse of yours to begin with, shall we?
0:22:16 > 0:22:18- Not much of a gap. - It's obviously big enough.
0:22:18 > 0:22:22That's why they took the frame off and passed it out the window.
0:22:22 > 0:22:25- What, an accomplice, you reckon? - Mm.
0:22:25 > 0:22:28Careful there. Don't touch it, it's a very valuable frame.
0:22:28 > 0:22:30Original 1910 gilt.
0:22:30 > 0:22:32Mr Baldwin, tell me - how's your breathing?
0:22:32 > 0:22:38Oh, feeling a bit better now, Doc. It's mostly when I'm under the pump.
0:22:38 > 0:22:43Please. I'd rather you refrain from touching anything while you're down here.
0:22:43 > 0:22:46- The boss doesn't help, does he? - Mmm.
0:22:46 > 0:22:50Listen, I understand Virginia Mackay was his assistant.
0:22:50 > 0:22:52I don't know how she ever put up with him.
0:22:52 > 0:22:55Shouldn't he be doing something about this glass?
0:22:55 > 0:22:58Yes. He does seem rather, erm...
0:22:58 > 0:23:02He's an arse. Cares more about his paintings than he does about people.
0:23:07 > 0:23:09HE SIGHS
0:23:14 > 0:23:15FAINT TAPPING
0:23:41 > 0:23:42WOMAN: Lucien.
0:23:46 > 0:23:48- Lucien. - Jean, good evening.
0:23:56 > 0:23:58WIND WHISTLES
0:23:58 > 0:23:59DISTANT SIRENS
0:24:02 > 0:24:03Can you hear me?
0:24:07 > 0:24:09Ted Baldwin!
0:24:09 > 0:24:11Hit-and-run. He's still alive.
0:24:11 > 0:24:14- How long ago? - We don't know.
0:24:14 > 0:24:17A passer-by called it in, thought he was drunk.
0:24:17 > 0:24:20Ted, it's Dr Blake.
0:24:20 > 0:24:22We've got an ambulance coming for you.
0:24:22 > 0:24:25By the way, he must've been involved in the break-in.
0:24:25 > 0:24:27Whatever happened after that, who knows?
0:24:27 > 0:24:28BALDWIN COUGHS
0:24:31 > 0:24:32Inhaler.
0:24:34 > 0:24:35Wallet.
0:24:37 > 0:24:39There's still money in it.
0:24:39 > 0:24:43And a set of keys, probably from the gallery.
0:24:43 > 0:24:44Finally.
0:24:51 > 0:24:53How is he?
0:24:53 > 0:24:55Well, he's in a coma. Serious swelling of the brain.
0:24:55 > 0:24:58When do you reckon I'll be able to speak to him?
0:24:58 > 0:25:00Probably never.
0:25:00 > 0:25:02Listen, I think Ted staged that break-in
0:25:02 > 0:25:04to cover his theft of the painting,
0:25:04 > 0:25:07right down to the scattering of broken glass on the ground,
0:25:07 > 0:25:10and I think he handed the painting to someone in the alleyway.
0:25:10 > 0:25:12So, why run him over, and why did they leave the painting?
0:25:12 > 0:25:16Do we know where Mr Johnstone was at the time of Virginia's murder?
0:25:16 > 0:25:19- What, you think they're linked? - Well...
0:25:19 > 0:25:24All right, we'll follow up on Johnstone, and we'll have another chat to...
0:25:24 > 0:25:27We'll have another talk to Miss Greenslade. Who else?
0:25:27 > 0:25:29Anyone else associated with the gallery.
0:25:29 > 0:25:32Professor, er - what's his name - Brendan Ross.
0:25:32 > 0:25:34Patrick Tyneman.
0:25:34 > 0:25:38- Oh, be serious. - All right. What about the boyfriend?
0:25:39 > 0:25:42This is a typed-up statement of your confession
0:25:42 > 0:25:46to the murder of Virginia Mackay, as taken from notes of interviews.
0:25:46 > 0:25:49Read it and sign it.
0:25:56 > 0:25:58Is there a problem, Mr Ledwith?
0:26:01 > 0:26:03- Is there a problem? - I didn't kill her.
0:26:06 > 0:26:09But you used to hit her, didn't you?
0:26:09 > 0:26:10She understood.
0:26:10 > 0:26:14I'm sorry? I'm sorry. What exactly did she understand?
0:26:14 > 0:26:18That I was doing great work. She wasn't a real artist.
0:26:18 > 0:26:21Just ask her tutors. They'll all say the same.
0:26:21 > 0:26:24Her tutors? Tell me, were they all males?
0:26:24 > 0:26:28- Of course.- Of course(!) Then they must've been right.
0:26:28 > 0:26:31You see yourself as a real artist, though, don't you?
0:26:31 > 0:26:33- Yes.- Yes(!)
0:26:33 > 0:26:39A few pots, a few tantrums, some bad behaviour. That's all it takes, yes?
0:26:39 > 0:26:43- Takes a bit more than that.- Yes, it does. It takes a lot more than that.
0:26:45 > 0:26:47The ability to think outside convention,
0:26:47 > 0:26:50the ability to step into someone else's shoes.
0:26:50 > 0:26:52These things...these things!
0:26:52 > 0:26:54I see none of these things in you.
0:26:54 > 0:26:57I see a spoiled little brat with very little imagination.
0:26:57 > 0:27:02Someone who has to work very, very hard to be even...mediocre.
0:27:02 > 0:27:03And yet you sit there,
0:27:03 > 0:27:07and you tell us that your girlfriend couldn't possibly be an artist,
0:27:07 > 0:27:13solely because she had the misfortune...to be born female.
0:27:21 > 0:27:24We're charging Ledwith - false statement.
0:27:24 > 0:27:27- What, that's all? - Bloody attention-seeker.
0:27:27 > 0:27:29You can take this back to the gallery.
0:27:29 > 0:27:32See what you can get out of that director.
0:27:32 > 0:27:36- How hard shall we go on him? - Use your judgment.
0:27:36 > 0:27:38Bring him in if you have to.
0:27:38 > 0:27:42- It's a miracle it's unscathed. - I took great care reframing it.
0:27:42 > 0:27:45Yes, well, we're going to have to question the loan arrangements
0:27:45 > 0:27:47between Ballarat and the National Gallery.
0:27:47 > 0:27:49- Please, Brendan... - No, no. We can't risk it.
0:27:49 > 0:27:51The painting, Barry.
0:27:54 > 0:27:57Mr Johnstone, before you do, what's that?
0:27:57 > 0:27:58What's what?
0:27:58 > 0:28:01- The dust on the wall. - So?
0:28:01 > 0:28:04Well, the outline of whatever was hanging there previously
0:28:04 > 0:28:06doesn't match the dimensions of this piece.
0:28:06 > 0:28:08I've been clearing work for the exhibition.
0:28:08 > 0:28:12- I thought the oil worked best here. - When did you switch paintings?
0:28:12 > 0:28:13The night before last. Why?
0:28:15 > 0:28:18I think your security guard and Mr Baldwin
0:28:18 > 0:28:20may have stolen the wrong painting,
0:28:20 > 0:28:22which is why it was left in the alleyway.
0:28:22 > 0:28:25The painting that was here, Mr Johnstone, where is it now?
0:28:25 > 0:28:29It's in the storeroom, but nobody would want to steal that.
0:28:29 > 0:28:33It's by an obscure local artist, Genevieve Ettienne.
0:28:33 > 0:28:36And why wouldn't anyone want to steal that?
0:28:36 > 0:28:38It's merely decorative.
0:28:38 > 0:28:41If she wasn't a local, she wouldn't be in the gallery at all.
0:28:41 > 0:28:45- You're quite sure about that? - Well, don't take my word for it.
0:28:45 > 0:28:48Yes, well, I'm not familiar with Ettienne's work,
0:28:48 > 0:28:50but minor local artist,
0:28:50 > 0:28:54solid enough technique, negligible cash value -
0:28:54 > 0:28:57unless the thief actually knew her,
0:28:57 > 0:29:01in which case the painting might have some sentimental value.
0:29:01 > 0:29:03- Sentimental value?- Yeah.
0:29:03 > 0:29:07I see. Well, I actually knew her.
0:29:07 > 0:29:09She was my mother.
0:29:13 > 0:29:15I think it might be best
0:29:15 > 0:29:17if you came down to the station with us, Mr Johnstone.
0:29:21 > 0:29:24I'll, er... I'll leave you to it.
0:29:25 > 0:29:27You coming, Doc?
0:29:28 > 0:29:31No. You go. There's something I want to have a look at.
0:29:31 > 0:29:33Your mother's painting?
0:29:33 > 0:29:37No. Someone else we've lost sight of.
0:30:00 > 0:30:02Hmm.
0:30:02 > 0:30:06Well, Virginia, I think I have to say...
0:30:06 > 0:30:12I prefer your work to that of Mr Davies.
0:30:12 > 0:30:17I'm starting to think you may have been just a little bit obsessed.
0:30:28 > 0:30:29Perhaps you weren't the only one.
0:30:31 > 0:30:33Miss Agnes Clasby, sir.
0:30:33 > 0:30:37Always been a beauty, if not, er, well...
0:30:37 > 0:30:41- Forthright? - I was going to say difficult.
0:30:41 > 0:30:42BLAKE CHUCKLES
0:30:42 > 0:30:45- Same again, sir? - Ah, excellent idea. Thank you, Cec.
0:30:48 > 0:30:52Ah, Lucien, I owe you an apology.
0:30:53 > 0:30:57We get so used to making big judgments about art.
0:30:57 > 0:31:01Sometimes, we forget we're actually talking about people as well.
0:31:01 > 0:31:03It's perfectly all right.
0:31:03 > 0:31:05Well, no, it's not, but thank you.
0:31:05 > 0:31:07Erm...
0:31:07 > 0:31:09Your mother...
0:31:09 > 0:31:12Oh, I haven't seen any of my mother's works since I was about ten years old,
0:31:12 > 0:31:16so I'm afraid I really wouldn't know whether it was any good or not.
0:31:16 > 0:31:18No, erm, well, the art world is a tough one,
0:31:18 > 0:31:20doubly so for women.
0:31:20 > 0:31:23I keep trying to tell my students that.
0:31:23 > 0:31:26Patrick trying to convince you to keep the exhibition in Ballarat?
0:31:26 > 0:31:28- Yes, he is. - Well, I hope he succeeds.
0:31:28 > 0:31:30Thank you.
0:31:30 > 0:31:34We could use more art here, especially by women.
0:31:34 > 0:31:35Enjoy your drinks, gentlemen.
0:31:46 > 0:31:49FAINTLY: Lucien. Lucien.
0:33:16 > 0:33:18SCORE REACHES CRESCENDO
0:34:01 > 0:34:03Good morning.
0:34:03 > 0:34:05Did you get any sleep?
0:34:07 > 0:34:09Not really.
0:34:09 > 0:34:14Jean, let me show you something.
0:34:14 > 0:34:16Look.
0:34:16 > 0:34:18Huh. Is that gold?
0:34:18 > 0:34:21Gold leaf. She used it in her paintings.
0:34:21 > 0:34:24It's very light. She'd say, "Watch this."
0:34:24 > 0:34:30And she'd take a piece of scrap, and she'd hold it above the fire,
0:34:30 > 0:34:33and it would catch in an updraught, and it would drift up...
0:34:33 > 0:34:35Ah. How lovely.
0:34:35 > 0:34:37..and float up until it reached the ceiling.
0:34:37 > 0:34:40How long has it been since you've been in here?
0:34:40 > 0:34:43A lifetime. Dad didn't want anyone in here.
0:34:43 > 0:34:48In fact, I clearly remember my father locking the doors.
0:34:48 > 0:34:50He was a lonely man, your father.
0:34:52 > 0:34:55Well, he packed me off to boarding school five days after she died,
0:34:55 > 0:34:57so perhaps...
0:34:58 > 0:35:02..perhaps being on his own wasn't such an issue for him.
0:35:02 > 0:35:04Well, you know that's not true.
0:35:06 > 0:35:09What made you come in here today?
0:35:09 > 0:35:12She's been gone 40-odd years...
0:35:13 > 0:35:16..and suddenly she's everywhere.
0:35:16 > 0:35:18Agnes Clasby's talking about her,
0:35:18 > 0:35:21someone tries to steal her painting from the gallery.
0:35:21 > 0:35:24And look -
0:35:24 > 0:35:29I found this in the flat of that girl who was murdered.
0:35:29 > 0:35:31- That's Agnes Clasby. - Yes.
0:35:31 > 0:35:33Isn't that your mother's work?
0:35:33 > 0:35:36Certainly appears to be.
0:35:37 > 0:35:38What do you mean?
0:35:40 > 0:35:42Well, there's only one way to find out.
0:36:22 > 0:36:25Well...look at you.
0:36:42 > 0:36:46- Oh!- You stole it! - Er, borrowed it.
0:36:46 > 0:36:48I don't think that's going to stand up in a court of law.
0:36:48 > 0:36:50Look. Look at this. Look here.
0:36:50 > 0:36:55- This...this is wet paint. - What?
0:36:55 > 0:36:58Someone's painted alizarin crimson over that section there.
0:36:58 > 0:37:00I think...
0:37:00 > 0:37:04I think they may have been trying to hide some damage.
0:37:04 > 0:37:07- Who? - Virginia Mackay.
0:37:07 > 0:37:11She had the very same pigment on her belt buckle.
0:37:12 > 0:37:15You think this painting has something to do with her death?
0:37:15 > 0:37:19Her boss was complaining about her clumsiness.
0:37:19 > 0:37:21So, how does it work?
0:37:24 > 0:37:27Her belt buckle catches on the painting, scratching it.
0:37:34 > 0:37:38Barry Johnstone, her boss - very, very demanding man.
0:37:38 > 0:37:44So, maybe she paints over it to avoid getting into trouble.
0:37:48 > 0:37:51This is the painting that the guard meant to steal.
0:37:51 > 0:37:54Let me just...
0:37:57 > 0:38:02Ah. You can just see. That's where it's been patched up.
0:38:02 > 0:38:04Yes, but there's something underneath that scrape.
0:38:04 > 0:38:07- What is that? - I have absolutely no idea.
0:38:07 > 0:38:09Maybe that's what this is all about.
0:38:15 > 0:38:17What are you asking me for?
0:38:17 > 0:38:21Elaine, please. My...my mother painted this.
0:38:21 > 0:38:23I'd like to hear what you think of it.
0:38:31 > 0:38:34You never said your mother was an artist.
0:38:34 > 0:38:37That's high praise, coming from you.
0:38:37 > 0:38:40- Ettienne? - Her maiden name.
0:38:40 > 0:38:42What, she used it even after she was married?
0:38:42 > 0:38:44She did, yes.
0:38:47 > 0:38:50Well, you could use turps and a knife
0:38:50 > 0:38:53to get the top layer of paint off,
0:38:53 > 0:38:56but that'd destroy her painting.
0:38:56 > 0:38:57And there's no other way?
0:38:59 > 0:39:01Not that I can think of.
0:39:04 > 0:39:07- Dr Blake.- Dr Harvey.
0:39:07 > 0:39:08I wasn't aware another body had come...
0:39:10 > 0:39:14- You're dissecting a painting. - Actually, they call it a pentimento.
0:39:14 > 0:39:16Is that a medical term?
0:39:16 > 0:39:18Alice, have a look at the light box.
0:39:19 > 0:39:22You've X-rayed a painting?
0:39:24 > 0:39:26What am I looking at?
0:39:26 > 0:39:28HE CLEARS THROAT
0:39:29 > 0:39:33So, this painting is covering up...
0:39:33 > 0:39:36Another painting altogether.
0:39:36 > 0:39:40You see, this one - you'll notice a photograph of it in that book -
0:39:40 > 0:39:43is covering up that painting on the opposite page.
0:39:43 > 0:39:46- Why? - David Davies.
0:39:46 > 0:39:50- Who? - Hasn't anybody heard...?
0:39:50 > 0:39:53David Davies, famous artist, lived in Ballarat.
0:39:53 > 0:39:56So, this person painted over the work of a well-known artist?
0:39:56 > 0:39:59- Yes. - Why would they do that?
0:39:59 > 0:40:05Why, indeed? I can tell you, however, that the culprit was my mother.
0:40:05 > 0:40:07Perhaps she did it to try and annoy someone.
0:40:07 > 0:40:09Are you suggesting that's a family trait?
0:40:09 > 0:40:11I didn't say anything.
0:40:13 > 0:40:15It's a pity we can't ask her.
0:40:18 > 0:40:20Thank you for coming, Agnes.
0:40:20 > 0:40:22I thought Jean would've kept a cleaner house.
0:40:22 > 0:40:25Well, until this morning, Jean had never been in here.
0:40:25 > 0:40:29In fact, no-one's been in here for years.
0:40:29 > 0:40:32Your mother was a gorgeous girl.
0:40:32 > 0:40:35Why don't you take a seat here, Agnes?
0:40:38 > 0:40:40I'd like to ask you some questions, if I may?
0:40:40 > 0:40:42Ah.
0:40:43 > 0:40:49Did Mother ever mention a painter by the name of David Davies?
0:40:49 > 0:40:53All the time - not that your father approved.
0:40:53 > 0:40:55He was a jealous man.
0:40:55 > 0:40:57Yes.
0:40:57 > 0:41:02Did she ever mention anything about a specific painting,
0:41:02 > 0:41:04one depicting a farmhouse?
0:41:06 > 0:41:07He gave it to her.
0:41:07 > 0:41:10- Gave it? - She was his muse.
0:41:15 > 0:41:17I see.
0:41:18 > 0:41:20What did my father make of that?
0:41:20 > 0:41:26He demanded they cut contact, and he sold the painting...
0:41:26 > 0:41:30to Michael Tyneman, Patrick's father.
0:41:31 > 0:41:33And what did she do?
0:41:33 > 0:41:35She lost the painting.
0:41:35 > 0:41:37Lost?
0:41:37 > 0:41:40Well, apparently, it's fairly easy to lose a painting.
0:41:44 > 0:41:48Now, you sat for her while she painted your portrait?
0:41:48 > 0:41:49Right here.
0:41:49 > 0:41:53- You knew what she was doing? - Of course I did!
0:41:53 > 0:41:55Michael Tyneman was a philistine.
0:41:57 > 0:41:59So was your father.
0:41:59 > 0:42:02So she hid the painting
0:42:03 > 0:42:05where neither of them would ever find it.
0:42:05 > 0:42:09And good for her, I say!
0:42:09 > 0:42:11Your mother was given a painting by a famous artist?
0:42:11 > 0:42:12Yes.
0:42:12 > 0:42:14And your father sold it to old man Tyneman?
0:42:14 > 0:42:17- Mm-hm. - It's ironic.
0:42:17 > 0:42:20Well, technically, a coincidence, but anyhow...
0:42:20 > 0:42:22So, she goes and paints this over the top.
0:42:22 > 0:42:24She had her reasons.
0:42:24 > 0:42:26So, how much would the original underneath be worth today?
0:42:26 > 0:42:27Oh, goodness.
0:42:27 > 0:42:32Currently, a Davies would fetch 1,000 guineas, perhaps more.
0:42:32 > 0:42:35- More than a year's salary.- Yes.
0:42:35 > 0:42:37Listen, I think...
0:42:37 > 0:42:40I think Virginia Mackay accidentally damaged the painting while she was at work.
0:42:41 > 0:42:44Hang on. Just to be clear, your mother's painting?
0:42:44 > 0:42:46Yes, I'm sorry. Mother's painting.
0:42:46 > 0:42:50But she saw part of this other painting underneath.
0:42:50 > 0:42:54She knew enough about Davies to know she'd stumbled across something.
0:42:54 > 0:42:56- And she covered it up. - But not before she told someone.
0:42:56 > 0:42:58So, the person we're looking for
0:42:58 > 0:43:00knows the true value of what she discovered.
0:43:00 > 0:43:02Correct.
0:43:02 > 0:43:04- Boss.- Yes.
0:43:04 > 0:43:07Miss Greenslade's here. Wants to talk to the doctor.
0:43:10 > 0:43:13Miss Greenslade, thank you for coming in.
0:43:16 > 0:43:19I didn't tell you everything about Virginia.
0:43:19 > 0:43:21Please, feel free, Elaine.
0:43:23 > 0:43:24We were lovers.
0:43:26 > 0:43:29You shared a flat, didn't you?
0:43:29 > 0:43:31We shared everything.
0:43:31 > 0:43:34But you had a falling-out. What was it about?
0:43:36 > 0:43:40Well, you know how pretty she was.
0:43:40 > 0:43:42She always had men hanging around -
0:43:42 > 0:43:47Geoffrey, the tutors, Mr Johnstone.
0:43:48 > 0:43:52She was so talented. She had so much to say.
0:43:52 > 0:43:53They didn't see it.
0:43:55 > 0:43:59They just wanted her to say how talented they were.
0:43:59 > 0:44:05When she went away to study at the National Gallery, she was so happy,
0:44:05 > 0:44:09but they just told her that she was just another pretty face.
0:44:09 > 0:44:13When she came back, something had changed.
0:44:15 > 0:44:18She studied at the National Gallery in Melbourne?
0:44:23 > 0:44:26Miss Mackay's study record.
0:44:35 > 0:44:38- Professor Ross.- Ah.
0:44:38 > 0:44:41I see the exhibition is staying in Ballarat.
0:44:41 > 0:44:43Yeah. Well, you and Patrick convinced me.
0:44:43 > 0:44:45I'm glad you did.
0:44:45 > 0:44:48Well, you can be confident your paintings will be safe.
0:44:50 > 0:44:52The police have arrested Barry Johnstone.
0:44:52 > 0:44:55- Barry?- Yes.
0:44:55 > 0:44:57Apparently, there was some conflict
0:44:57 > 0:44:59between Mr Johnstone and the dead girl.
0:44:59 > 0:45:02- Something about damaging an artwork. - Oh.
0:45:02 > 0:45:06Apparently, the police have uncovered evidence of...
0:45:06 > 0:45:12well, quite a bit of suspect dealing on his part.
0:45:12 > 0:45:15- He's confessed?- Doesn't have to. The police are very confident.
0:45:15 > 0:45:19Oh, well, that's good news.
0:45:19 > 0:45:23- Too late for that poor girl, though. - Yes.
0:45:23 > 0:45:25What's he doing?
0:45:25 > 0:45:29Oh, that's my mother's painting. They're bringing it back.
0:45:29 > 0:45:32Well, the opening is tomorrow, Lucien.
0:45:32 > 0:45:33I'll see you there.
0:45:40 > 0:45:43Wow. It's amazing.
0:45:43 > 0:45:47Hmm. Isn't it?
0:45:47 > 0:45:49And he kept it locked all this time?
0:45:49 > 0:45:52Mm. He was just a boy when she died.
0:45:52 > 0:45:54PHONE RINGS
0:45:54 > 0:45:55I'll get it.
0:46:02 > 0:46:04RATTLING
0:46:45 > 0:46:49Trouble finding the light switch, Professor Ross?
0:46:49 > 0:46:53I have made an extremely important discovery.
0:46:53 > 0:46:57There is a David Davies painting hidden under this Ettienne.
0:46:57 > 0:47:01Didn't Virginia Mackay discover that?
0:47:01 > 0:47:03- Who?- The girl you murdered in the College of the Arts,
0:47:03 > 0:47:06your former student from the National Gallery,
0:47:06 > 0:47:08the one you failed in her second year!
0:47:08 > 0:47:10- I...- It's your car outside, isn't it, Professor?
0:47:10 > 0:47:12Yes.
0:47:12 > 0:47:15Do you care to explain how you got the bloodstains on the side fender,
0:47:15 > 0:47:17or this?
0:47:17 > 0:47:21I'm guessing it'll test positive for traces of Miss Mackay's blood.
0:47:21 > 0:47:24- Thank you. I'll take that. - Keep still.
0:47:27 > 0:47:29What's this?
0:47:29 > 0:47:33- Virginia Mackay's gallery keys. - Charge him.
0:47:33 > 0:47:36Virginia Mackay dead, Ted Baldwin in a coma,
0:47:36 > 0:47:39just so you could own a painting by a famous artist.
0:47:39 > 0:47:42Yes, and look what your mother did to it!
0:47:42 > 0:47:44She was a nobody!
0:47:47 > 0:47:52That what you called all your female students?
0:47:52 > 0:47:54You do realise you're not the actual owner of that?
0:47:58 > 0:48:00Patrick.
0:48:04 > 0:48:06May I? Thank you.
0:48:09 > 0:48:10Cheers.
0:48:13 > 0:48:15Oh.
0:48:15 > 0:48:17How is it?
0:48:18 > 0:48:20Surprising.
0:48:22 > 0:48:24This is about that painting, isn't it?
0:48:26 > 0:48:27Yes. Yes, it is.
0:48:27 > 0:48:32- Go on...- Well, we have something of a dilemma here.
0:48:32 > 0:48:34As you know, my mother's painting
0:48:34 > 0:48:37was gifted to the Ballarat Art Gallery by my father.
0:48:37 > 0:48:42- Now, it seems the painting has... - Fallen into disrepute.
0:48:42 > 0:48:44..fallen out of favour.
0:48:44 > 0:48:48Look, they own it. They don't want it.
0:48:48 > 0:48:54I do. Now, you're the chair of the gallery board.
0:48:54 > 0:48:57I'd like you to gift it back.
0:48:57 > 0:49:02Unfortunately, the situation is a little more complex than that.
0:49:02 > 0:49:05The painting underneath your mother's painting
0:49:05 > 0:49:09was sold to my father.
0:49:09 > 0:49:11I actually still have the bill of sale.
0:49:11 > 0:49:13You do?
0:49:14 > 0:49:17When he came to collect...
0:49:17 > 0:49:23And the painting disappeared...my father didn't give the money back.
0:49:24 > 0:49:26Your mother died.
0:49:26 > 0:49:30My mother thought it would be cruel to insist.
0:49:30 > 0:49:31Of course.
0:49:33 > 0:49:35Oh, Patrick, I had no idea.
0:49:37 > 0:49:42So, obviously, you're claiming ownership of the painting.
0:49:42 > 0:49:44Is that right?
0:49:48 > 0:49:52- Is that it? - Yes, indeed. That's it.
0:49:52 > 0:49:54So, what did Patrick say?
0:49:54 > 0:49:59Well, he wanted to ask my advice, in regard to his children.
0:49:59 > 0:50:01- You?- I know.
0:50:01 > 0:50:03Lucien, it's lovely.
0:50:03 > 0:50:05You're just saying that.
0:50:05 > 0:50:11No. It is beautiful. Your mother must've been quite some woman.
0:50:11 > 0:50:16Yes. Yes, she was.
0:50:16 > 0:50:17Now, if you'll excuse me.