The Ties of the Past The Doctor Blake Mysteries


The Ties of the Past

Australian crime drama. When a life model is found murdered at the start of a painting class, Dr Blake is drawn into a difficult and troubling investigation.


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Transcript


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I suppose this is where everything changes.

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You always told me I was beautiful.

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BELT HITS FLOOR

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You never knew I could be so smart.

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Bet you never thought we'd be doing this together.

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Neither did I.

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Still here, Elaine?

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May as well come in.

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In case you've forgotten, we're looking at skin tones today.

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Of course, some of you have already taken this class before,

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and you know how hard it is.

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Those of you who haven't, good luck.

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We want white, yellow, brown and red on your palettes.

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Orange and green for those of you with pretensions.

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Are we ready?

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SCREAMING

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We all miss Nell.

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Of course you do. She was much nicer than I am.

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-Miss Clasby.

-Jean.

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Here you are, Agnes.

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When are you getting rid of all this tat on the walls?

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-Tat?

-What about your mother's paintings?

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Where are they?

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You realise the gallery is putting her work into storage?

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They bought one solitary painting, then they go and hide it.

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Her son should be coming to her defence.

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Yes. Well, we'll see you again in a couple of days.

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And we'll check that blood pressure for you.

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Oh, bah to blood pressure! We loved your mother.

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We're all she has left, Lucien.

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I've been at him for ages to go through her old studio.

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-Do you think that he will?

-Thank you, Jean.

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-PHONE RINGS

-Excuse me, ladies.

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Yes? Dr Lucien Blake.

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-Did we upset him?

-Oh, I hope so.

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-Good.

-Of course. I'll be right there.

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Jean, I'm needed at the College of the Arts.

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Wonderful!

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It'll give you a chance to talk to the gallery about her paintings,

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won't it, Lucien?

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-Lovely to see you, Agnes.

-You don't mean that at all.

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You know I do.

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Her name is Virginia Mackay, life model.

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Last seen about an hour ago entering the building.

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They cut her throat.

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-What with?

-I don't know.

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Davis, any sign of a murder weapon?

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No. Nothing, boss. Just...lots of blood.

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Charlie...what's through there?

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Uh, a back stairwell that heads down to the potters' studio,

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and then out to an alleyway.

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I reckon whoever it was came in and out through there.

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Well, let's say she was attacked here.

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She was undressing. She was interrupted.

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Hadn't removed her slip or her underwear.

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-Was it sexual?

-I don't know.

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After she was attacked, she fell here.

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Do we know anything about this girl?

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Yes. She was a regular model for the class.

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And you are?

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Geoffrey Ledwith. I teach this class.

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Mr Ledwith, we're going to need a list of names of all your students.

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You do know she was my girlfriend?

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Ah, er...

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-HE CLEARS THROAT

-Mr Ledwith, how about we, erm, sit you down?

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-She was pretty.

-She certainly was.

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Were there men in the life class?

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-Yes. Why?

-Some men hate attractive women.

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-It's curious.

-Yes.

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Alice, would you mind passing me a swab, please?

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I've noticed something here. I'd like to get your opinion.

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Now, what do you make of that?

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Soil? Mud? Where from?

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Already on the blade, perhaps?

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-Did you see her belt buckle?

-No. Why?

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Because of this.

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Is that blood?

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No. Some kind of pigment.

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I think you might be right.

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I think you'll find that's alizarin crimson.

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I'm sorry?

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Er...oil paint.

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The colour was originally derived from the madder plant.

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How do you know that?

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My mother was a painter.

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Thank you.

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Doesn't quite go with the uniform.

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Oh, I don't know.

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It was dumped in a bin.

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It's Virginia Mackay's.

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They don't seem to have left any prints,

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but nothing seems to have been stolen.

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-Right.

-Wallet, with about five quid.

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Make-up, house keys.

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I don't suppose you saw any... mud in that alleyway?

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Not really, no. Why?

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Oh, it's just a detail that doesn't seem to fit anywhere yet.

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So, what should I be looking for?

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How about a blade with dirt on it, a motive and a killer?

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So, pretty simple, then.

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-Yes.

-Excuse me.

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-Am I allowed in yet?

-Do you have a reason to be in here, Mr Ledwith?

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Yes. I need to pick up my materials.

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Charlie, come here a moment.

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Mr Ledwith, if I may, whose work is this?

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Elaine Greenslade.

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She was obsessed with Virginia.

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-Interesting painting, Miss Greenslade.

-Why?

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It reflects the position we found the dead girl's body in,

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almost too accurately.

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What's more, the girl you've painted bears a...

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well, a remarkable resemblance to Miss Mackay.

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You know what it is, don't you?

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Beneath The Arena, by von Piloty.

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Depicts a human sacrifice.

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It's hanging in the gallery. Everybody knows it.

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Not quite everyone.

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So, why'd you make a copy of it?

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Because she's got the most amazing skin. It's translucent.

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All students copy the masters. That's how we learn.

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-Does the girl in the original look like Virginia Mackay?

-Yes.

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Geoffrey Ledwith said that you and Miss Mackay were friends,

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and that you...flatted together.

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He also said that you had a falling-out, and you resented her.

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You should be talking to him. He's the one with the temper.

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Or her horrible boss, Barry Johnstone.

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Did you resent her, Elaine?

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Did you think that she was perhaps more talented than you?

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Of course she was talented.

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She was just never given a chance to show it.

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What?

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Got the director of the gallery here.

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Something about the dead girl's keys.

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Superintendent, I'm Barry Johnstone.

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What's this about?

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Virginia Mackay had a set of keys for the gallery.

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It is really important that I know they're secure.

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Davis.

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Excuse me!

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-They're not the ones.

-You sure?

-Of course I'm sure.

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No money was stolen.

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Did you find anything else on her? Anything at all?

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-Mr Johnstone, Miss Mackay was murdered.

-I do apologise.

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There is a major exhibition coming in from the National Gallery.

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I've promised their works will be secure, and with one set of keys missing...

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Davis, take a statement.

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Shouldn't you be looking at paintings?

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Lucien.

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Lucien, mon cher.

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Lucien.

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HEELED FOOTSTEPS

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HE EXHALES

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HE SNIFFS

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-Excuse me.

-Yes?

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Ah, I'm looking for a painting - Beneath The Arena, von Piloty.

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Karl Theodor.

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Karl Theodor von Piloty.

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-Ah.

-And I'm showing off now.

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I'm not sure where it's hanging. This isn't my gallery.

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-Oh, I do beg your pardon.

-Try the Blue Room.

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Thank you.

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Blake.

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Ah, Patrick.

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I'm surprised to see you here.

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My family is the gallery's chief benefactor.

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I'm chair of the gallery board.

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I'll leave you to it.

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Ross, there you are.

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You found it.

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Macabre, but also quite beautiful, isn't it?

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You know each other?

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Yeah, well, not formally. Brendan Ross.

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Lucien Blake.

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Professor Ross is from the National Gallery.

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Yes, and we're a little nervous.

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We have a few Davies travelling, which are close to priceless.

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They'll be fine. We'd better go.

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The club is very strict about reservations.

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The exhibition opens on Tuesday.

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-Any friend of Patrick's...

-Thank you.

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I'll keep that in mind.

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Doc, the boss wants us to search the dead girl's flat.

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Right.

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Ah, David Davies.

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-Who's he?

-A fairly well-known artist.

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Well, I'll know for next time.

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Now, you took a statement from the gallery director, didn't you?

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Yes. Yes.

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Described the dead girl as mostly competent,

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tended to vagueness and clumsy.

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-Clumsy?

-Well, that's what he said.

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Did he say anything specifically about her work?

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"Typically decorative female noodlings."

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Sounds like you didn't like him.

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Broken pottery.

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Seems to be a lot of it.

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GL.

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-That'd be Geoffrey Ledwith.

-Well, that's her boyfriend.

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Why would she break all their stuff?

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Oh.

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I thought it was dirt or mud in the wound.

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It may have been potter's clay. Potters use a...

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Potters use a wire to cut their work from the wheel.

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Very fine gauge. No striations.

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Ah. Seemed a shame to throw that pot away.

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Know anything about art?

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I know who David Davies is.

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Well, if it's not perfect, it's not worth keeping.

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-You can't just simply remake it?

-Better to start again.

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That's harsh.

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You have to be.

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You didn't tell me you'd been around to Virginia's flat

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the night before she died.

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The neighbours heard the two of you having a very loud argument.

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You care to tell us what happened?

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No.

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That's a dangerous-looking device, isn't it, Charlie?

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Mm-hm. The neighbours said there was screaming and yelling.

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Doors slamming.

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They said you left in a very bad mood.

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But it was after that they heard pottery smashing.

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We looked in her bin. Found a few of your perfect ceramics in there.

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Oh, she'd made a mess of them.

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Careful, Mr Ledwith.

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You could really hurt someone with one of those.

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As a matter of fact, you could slice right through someone's larynx

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with one of those if you wanted to...

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That's what I think of your opinions.

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And on that basis, Mr Ledwith,

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I think you should accompany us to the station.

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How long were you and Virginia Mackay seeing each other?

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We've been told you were together for a period of about six months.

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Is this correct?

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You've been described as a jealous boyfriend, sometimes violent.

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Is this true?

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How often did you hit her, Mr Ledwith?

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-The absence of any comment...

-What do you want me to say?

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The truth would be a good start, Mr Ledwith.

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All right, then.

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We had a fight...

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..and I killed her.

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You happy now?

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She was beautiful.

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Yes, she was.

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Do you have the, uh... the potter's wire there?

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-Mm-hm.

-Good.

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And if you could hold it just on the other side of the wound there.

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It appears to be the right gauge.

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Seems like a pretty horrible way to go.

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Quick, silent.

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People right on the other side of the door,

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and no-one heard a damn thing.

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DOOR CLOSES

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SPRAYING

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-Luminol?

-Yes.

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-You've seen it before, have you?

-No, no. I've read about it.

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Right. Erm, Charlie, would you mind

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flicking the switch on the main lights there for me?

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Now...

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Absolutely nothing.

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There's no evidence here to connect Ledwith to the killing.

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I can go back to the station. Tell the boss, if you like.

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Shouldn't you have knocked off by now?

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Well, I don't mind missing another night at the boarding house.

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-Not exactly the most comfortable place in the world.

-Yes.

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I'm surprised you haven't rented out a room somewhere.

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Well, I didn't think I'd be staying on so long.

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Well, we have spare rooms at our place,

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if you are planning to stay on.

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Is that your mother's old studio?

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O'Brien said something about it.

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No. No. Erm, we have other rooms.

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Anyhow, you have a think, Charlie.

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Thanks, Doc.

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PHONE RINGS

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I'll get it.

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Is that Charlie?

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Yes. At the gallery.

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I'll tell him immediately.

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We have a major exhibition opening in three days.

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We have three Davies' works on show.

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We had to increase the insurance to cover it, and now that fool tells me

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that a painting's been stolen on his shift!

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Boss wanted you here. Security guard's got asthma.

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What were you doing - sleeping again?

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Well, yelling at him probably won't help that.

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The missing painting?

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It was here, and then when I did my last round, it was gone.

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You have a description?

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It's an oil painting by Herbert Smith.

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-Worth about 100 guineas.

-Is that expensive?

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No. We have far more valuable paintings.

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So, why steal it?

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Mr Baldwin, Dr Lucien Blake.

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A little tight of chest?

0:22:080:22:10

Yes. Let's check that pulse of yours to begin with, shall we?

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-Not much of a gap.

-It's obviously big enough.

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That's why they took the frame off and passed it out the window.

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-What, an accomplice, you reckon?

-Mm.

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Careful there. Don't touch it, it's a very valuable frame.

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Original 1910 gilt.

0:22:280:22:30

Mr Baldwin, tell me - how's your breathing?

0:22:300:22:32

Oh, feeling a bit better now, Doc. It's mostly when I'm under the pump.

0:22:320:22:38

Please. I'd rather you refrain from touching anything while you're down here.

0:22:380:22:43

-The boss doesn't help, does he?

-Mmm.

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Listen, I understand Virginia Mackay was his assistant.

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I don't know how she ever put up with him.

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Shouldn't he be doing something about this glass?

0:22:520:22:55

Yes. He does seem rather, erm...

0:22:550:22:58

He's an arse. Cares more about his paintings than he does about people.

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HE SIGHS

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FAINT TAPPING

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WOMAN: Lucien.

0:23:410:23:42

-Lucien.

-Jean, good evening.

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WIND WHISTLES

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DISTANT SIRENS

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Can you hear me?

0:24:020:24:03

Ted Baldwin!

0:24:070:24:09

Hit-and-run. He's still alive.

0:24:090:24:11

-How long ago?

-We don't know.

0:24:110:24:14

A passer-by called it in, thought he was drunk.

0:24:140:24:17

Ted, it's Dr Blake.

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We've got an ambulance coming for you.

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By the way, he must've been involved in the break-in.

0:24:220:24:25

Whatever happened after that, who knows?

0:24:250:24:27

BALDWIN COUGHS

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Inhaler.

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Wallet.

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There's still money in it.

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And a set of keys, probably from the gallery.

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Finally.

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How is he?

0:24:510:24:53

Well, he's in a coma. Serious swelling of the brain.

0:24:530:24:55

When do you reckon I'll be able to speak to him?

0:24:550:24:58

Probably never.

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Listen, I think Ted staged that break-in

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to cover his theft of the painting,

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right down to the scattering of broken glass on the ground,

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and I think he handed the painting to someone in the alleyway.

0:25:070:25:10

So, why run him over, and why did they leave the painting?

0:25:100:25:12

Do we know where Mr Johnstone was at the time of Virginia's murder?

0:25:120:25:16

-What, you think they're linked?

-Well...

0:25:160:25:19

All right, we'll follow up on Johnstone, and we'll have another chat to...

0:25:190:25:24

We'll have another talk to Miss Greenslade. Who else?

0:25:240:25:27

Anyone else associated with the gallery.

0:25:270:25:29

Professor, er - what's his name - Brendan Ross.

0:25:290:25:32

Patrick Tyneman.

0:25:320:25:34

-Oh, be serious.

-All right. What about the boyfriend?

0:25:340:25:38

This is a typed-up statement of your confession

0:25:390:25:42

to the murder of Virginia Mackay, as taken from notes of interviews.

0:25:420:25:46

Read it and sign it.

0:25:460:25:49

Is there a problem, Mr Ledwith?

0:25:560:25:58

-Is there a problem?

-I didn't kill her.

0:26:010:26:03

But you used to hit her, didn't you?

0:26:060:26:09

She understood.

0:26:090:26:10

I'm sorry? I'm sorry. What exactly did she understand?

0:26:100:26:14

That I was doing great work. She wasn't a real artist.

0:26:140:26:18

Just ask her tutors. They'll all say the same.

0:26:180:26:21

Her tutors? Tell me, were they all males?

0:26:210:26:24

-Of course.

-Of course(!) Then they must've been right.

0:26:240:26:28

You see yourself as a real artist, though, don't you?

0:26:280:26:31

-Yes.

-Yes(!)

0:26:310:26:33

A few pots, a few tantrums, some bad behaviour. That's all it takes, yes?

0:26:330:26:39

-Takes a bit more than that.

-Yes, it does. It takes a lot more than that.

0:26:390:26:43

The ability to think outside convention,

0:26:450:26:47

the ability to step into someone else's shoes.

0:26:470:26:50

These things...these things!

0:26:500:26:52

I see none of these things in you.

0:26:520:26:54

I see a spoiled little brat with very little imagination.

0:26:540:26:57

Someone who has to work very, very hard to be even...mediocre.

0:26:570:27:02

And yet you sit there,

0:27:020:27:03

and you tell us that your girlfriend couldn't possibly be an artist,

0:27:030:27:07

solely because she had the misfortune...to be born female.

0:27:070:27:13

We're charging Ledwith - false statement.

0:27:210:27:24

-What, that's all?

-Bloody attention-seeker.

0:27:240:27:27

You can take this back to the gallery.

0:27:270:27:29

See what you can get out of that director.

0:27:290:27:32

-How hard shall we go on him?

-Use your judgment.

0:27:320:27:36

Bring him in if you have to.

0:27:360:27:38

-It's a miracle it's unscathed.

-I took great care reframing it.

0:27:380:27:42

Yes, well, we're going to have to question the loan arrangements

0:27:420:27:45

between Ballarat and the National Gallery.

0:27:450:27:47

-Please, Brendan...

-No, no. We can't risk it.

0:27:470:27:49

The painting, Barry.

0:27:490:27:51

Mr Johnstone, before you do, what's that?

0:27:540:27:57

What's what?

0:27:570:27:58

-The dust on the wall.

-So?

0:27:580:28:01

Well, the outline of whatever was hanging there previously

0:28:010:28:04

doesn't match the dimensions of this piece.

0:28:040:28:06

I've been clearing work for the exhibition.

0:28:060:28:08

-I thought the oil worked best here.

-When did you switch paintings?

0:28:080:28:12

The night before last. Why?

0:28:120:28:13

I think your security guard and Mr Baldwin

0:28:150:28:18

may have stolen the wrong painting,

0:28:180:28:20

which is why it was left in the alleyway.

0:28:200:28:22

The painting that was here, Mr Johnstone, where is it now?

0:28:220:28:25

It's in the storeroom, but nobody would want to steal that.

0:28:250:28:29

It's by an obscure local artist, Genevieve Ettienne.

0:28:290:28:33

And why wouldn't anyone want to steal that?

0:28:330:28:36

It's merely decorative.

0:28:360:28:38

If she wasn't a local, she wouldn't be in the gallery at all.

0:28:380:28:41

-You're quite sure about that?

-Well, don't take my word for it.

0:28:410:28:45

Yes, well, I'm not familiar with Ettienne's work,

0:28:450:28:48

but minor local artist,

0:28:480:28:50

solid enough technique, negligible cash value -

0:28:500:28:54

unless the thief actually knew her,

0:28:540:28:57

in which case the painting might have some sentimental value.

0:28:570:29:01

-Sentimental value?

-Yeah.

0:29:010:29:03

I see. Well, I actually knew her.

0:29:030:29:07

She was my mother.

0:29:070:29:09

I think it might be best

0:29:130:29:15

if you came down to the station with us, Mr Johnstone.

0:29:150:29:17

I'll, er... I'll leave you to it.

0:29:210:29:24

You coming, Doc?

0:29:250:29:27

No. You go. There's something I want to have a look at.

0:29:280:29:31

Your mother's painting?

0:29:310:29:33

No. Someone else we've lost sight of.

0:29:330:29:37

Hmm.

0:30:000:30:02

Well, Virginia, I think I have to say...

0:30:020:30:06

I prefer your work to that of Mr Davies.

0:30:060:30:12

I'm starting to think you may have been just a little bit obsessed.

0:30:120:30:17

Perhaps you weren't the only one.

0:30:280:30:29

Miss Agnes Clasby, sir.

0:30:310:30:33

Always been a beauty, if not, er, well...

0:30:330:30:37

-Forthright?

-I was going to say difficult.

0:30:370:30:41

BLAKE CHUCKLES

0:30:410:30:42

-Same again, sir?

-Ah, excellent idea. Thank you, Cec.

0:30:420:30:45

Ah, Lucien, I owe you an apology.

0:30:480:30:52

We get so used to making big judgments about art.

0:30:530:30:57

Sometimes, we forget we're actually talking about people as well.

0:30:570:31:01

It's perfectly all right.

0:31:010:31:03

Well, no, it's not, but thank you.

0:31:030:31:05

Erm...

0:31:050:31:07

Your mother...

0:31:070:31:09

Oh, I haven't seen any of my mother's works since I was about ten years old,

0:31:090:31:12

so I'm afraid I really wouldn't know whether it was any good or not.

0:31:120:31:16

No, erm, well, the art world is a tough one,

0:31:160:31:18

doubly so for women.

0:31:180:31:20

I keep trying to tell my students that.

0:31:200:31:23

Patrick trying to convince you to keep the exhibition in Ballarat?

0:31:230:31:26

-Yes, he is.

-Well, I hope he succeeds.

0:31:260:31:28

Thank you.

0:31:280:31:30

We could use more art here, especially by women.

0:31:300:31:34

Enjoy your drinks, gentlemen.

0:31:340:31:35

FAINTLY: Lucien. Lucien.

0:31:460:31:49

SCORE REACHES CRESCENDO

0:33:160:33:18

Good morning.

0:34:010:34:03

Did you get any sleep?

0:34:030:34:05

Not really.

0:34:070:34:09

Jean, let me show you something.

0:34:090:34:14

Look.

0:34:140:34:16

Huh. Is that gold?

0:34:160:34:18

Gold leaf. She used it in her paintings.

0:34:180:34:21

It's very light. She'd say, "Watch this."

0:34:210:34:24

And she'd take a piece of scrap, and she'd hold it above the fire,

0:34:240:34:30

and it would catch in an updraught, and it would drift up...

0:34:300:34:33

Ah. How lovely.

0:34:330:34:35

..and float up until it reached the ceiling.

0:34:350:34:37

How long has it been since you've been in here?

0:34:370:34:40

A lifetime. Dad didn't want anyone in here.

0:34:400:34:43

In fact, I clearly remember my father locking the doors.

0:34:430:34:48

He was a lonely man, your father.

0:34:480:34:50

Well, he packed me off to boarding school five days after she died,

0:34:520:34:55

so perhaps...

0:34:550:34:57

..perhaps being on his own wasn't such an issue for him.

0:34:580:35:02

Well, you know that's not true.

0:35:020:35:04

What made you come in here today?

0:35:060:35:09

She's been gone 40-odd years...

0:35:090:35:12

..and suddenly she's everywhere.

0:35:130:35:16

Agnes Clasby's talking about her,

0:35:160:35:18

someone tries to steal her painting from the gallery.

0:35:180:35:21

And look -

0:35:210:35:24

I found this in the flat of that girl who was murdered.

0:35:240:35:29

-That's Agnes Clasby.

-Yes.

0:35:290:35:31

Isn't that your mother's work?

0:35:310:35:33

Certainly appears to be.

0:35:330:35:36

What do you mean?

0:35:370:35:38

Well, there's only one way to find out.

0:35:400:35:42

Well...look at you.

0:36:220:36:25

-Oh!

-You stole it!

-Er, borrowed it.

0:36:420:36:46

I don't think that's going to stand up in a court of law.

0:36:460:36:48

Look. Look at this. Look here.

0:36:480:36:50

-This...this is wet paint.

-What?

0:36:500:36:55

Someone's painted alizarin crimson over that section there.

0:36:550:36:58

I think...

0:36:580:37:00

I think they may have been trying to hide some damage.

0:37:000:37:04

-Who?

-Virginia Mackay.

0:37:040:37:07

She had the very same pigment on her belt buckle.

0:37:070:37:11

You think this painting has something to do with her death?

0:37:120:37:15

Her boss was complaining about her clumsiness.

0:37:150:37:19

So, how does it work?

0:37:190:37:21

Her belt buckle catches on the painting, scratching it.

0:37:240:37:27

Barry Johnstone, her boss - very, very demanding man.

0:37:340:37:38

So, maybe she paints over it to avoid getting into trouble.

0:37:380:37:44

This is the painting that the guard meant to steal.

0:37:480:37:51

Let me just...

0:37:510:37:54

Ah. You can just see. That's where it's been patched up.

0:37:570:38:02

Yes, but there's something underneath that scrape.

0:38:020:38:04

-What is that?

-I have absolutely no idea.

0:38:040:38:07

Maybe that's what this is all about.

0:38:070:38:09

What are you asking me for?

0:38:150:38:17

Elaine, please. My...my mother painted this.

0:38:170:38:21

I'd like to hear what you think of it.

0:38:210:38:23

You never said your mother was an artist.

0:38:310:38:34

That's high praise, coming from you.

0:38:340:38:37

-Ettienne?

-Her maiden name.

0:38:370:38:40

What, she used it even after she was married?

0:38:400:38:42

She did, yes.

0:38:420:38:44

Well, you could use turps and a knife

0:38:470:38:50

to get the top layer of paint off,

0:38:500:38:53

but that'd destroy her painting.

0:38:530:38:56

And there's no other way?

0:38:560:38:57

Not that I can think of.

0:38:590:39:01

-Dr Blake.

-Dr Harvey.

0:39:040:39:07

I wasn't aware another body had come...

0:39:070:39:08

-You're dissecting a painting.

-Actually, they call it a pentimento.

0:39:100:39:14

Is that a medical term?

0:39:140:39:16

Alice, have a look at the light box.

0:39:160:39:18

You've X-rayed a painting?

0:39:190:39:22

What am I looking at?

0:39:240:39:26

HE CLEARS THROAT

0:39:260:39:28

So, this painting is covering up...

0:39:290:39:33

Another painting altogether.

0:39:330:39:36

You see, this one - you'll notice a photograph of it in that book -

0:39:360:39:40

is covering up that painting on the opposite page.

0:39:400:39:43

-Why?

-David Davies.

0:39:430:39:46

-Who?

-Hasn't anybody heard...?

0:39:460:39:50

David Davies, famous artist, lived in Ballarat.

0:39:500:39:53

So, this person painted over the work of a well-known artist?

0:39:530:39:56

-Yes.

-Why would they do that?

0:39:560:39:59

Why, indeed? I can tell you, however, that the culprit was my mother.

0:39:590:40:05

Perhaps she did it to try and annoy someone.

0:40:050:40:07

Are you suggesting that's a family trait?

0:40:070:40:09

I didn't say anything.

0:40:090:40:11

It's a pity we can't ask her.

0:40:130:40:15

Thank you for coming, Agnes.

0:40:180:40:20

I thought Jean would've kept a cleaner house.

0:40:200:40:22

Well, until this morning, Jean had never been in here.

0:40:220:40:25

In fact, no-one's been in here for years.

0:40:250:40:29

Your mother was a gorgeous girl.

0:40:290:40:32

Why don't you take a seat here, Agnes?

0:40:320:40:35

I'd like to ask you some questions, if I may?

0:40:380:40:40

Ah.

0:40:400:40:42

Did Mother ever mention a painter by the name of David Davies?

0:40:430:40:49

All the time - not that your father approved.

0:40:490:40:53

He was a jealous man.

0:40:530:40:55

Yes.

0:40:550:40:57

Did she ever mention anything about a specific painting,

0:40:570:41:02

one depicting a farmhouse?

0:41:020:41:04

He gave it to her.

0:41:060:41:07

-Gave it?

-She was his muse.

0:41:070:41:10

I see.

0:41:150:41:17

What did my father make of that?

0:41:180:41:20

He demanded they cut contact, and he sold the painting...

0:41:200:41:26

to Michael Tyneman, Patrick's father.

0:41:260:41:30

And what did she do?

0:41:310:41:33

She lost the painting.

0:41:330:41:35

Lost?

0:41:350:41:37

Well, apparently, it's fairly easy to lose a painting.

0:41:370:41:40

Now, you sat for her while she painted your portrait?

0:41:440:41:48

Right here.

0:41:480:41:49

-You knew what she was doing?

-Of course I did!

0:41:490:41:53

Michael Tyneman was a philistine.

0:41:530:41:55

So was your father.

0:41:570:41:59

So she hid the painting

0:41:590:42:02

where neither of them would ever find it.

0:42:030:42:05

And good for her, I say!

0:42:050:42:09

Your mother was given a painting by a famous artist?

0:42:090:42:11

Yes.

0:42:110:42:12

And your father sold it to old man Tyneman?

0:42:120:42:14

-Mm-hm.

-It's ironic.

0:42:140:42:17

Well, technically, a coincidence, but anyhow...

0:42:170:42:20

So, she goes and paints this over the top.

0:42:200:42:22

She had her reasons.

0:42:220:42:24

So, how much would the original underneath be worth today?

0:42:240:42:26

Oh, goodness.

0:42:260:42:27

Currently, a Davies would fetch 1,000 guineas, perhaps more.

0:42:270:42:32

-More than a year's salary.

-Yes.

0:42:320:42:35

Listen, I think...

0:42:350:42:37

I think Virginia Mackay accidentally damaged the painting while she was at work.

0:42:370:42:40

Hang on. Just to be clear, your mother's painting?

0:42:410:42:44

Yes, I'm sorry. Mother's painting.

0:42:440:42:46

But she saw part of this other painting underneath.

0:42:460:42:50

She knew enough about Davies to know she'd stumbled across something.

0:42:500:42:54

-And she covered it up.

-But not before she told someone.

0:42:540:42:56

So, the person we're looking for

0:42:560:42:58

knows the true value of what she discovered.

0:42:580:43:00

Correct.

0:43:000:43:02

-Boss.

-Yes.

0:43:020:43:04

Miss Greenslade's here. Wants to talk to the doctor.

0:43:040:43:07

Miss Greenslade, thank you for coming in.

0:43:100:43:13

I didn't tell you everything about Virginia.

0:43:160:43:19

Please, feel free, Elaine.

0:43:190:43:21

We were lovers.

0:43:230:43:24

You shared a flat, didn't you?

0:43:260:43:29

We shared everything.

0:43:290:43:31

But you had a falling-out. What was it about?

0:43:310:43:34

Well, you know how pretty she was.

0:43:360:43:40

She always had men hanging around -

0:43:400:43:42

Geoffrey, the tutors, Mr Johnstone.

0:43:420:43:47

She was so talented. She had so much to say.

0:43:480:43:52

They didn't see it.

0:43:520:43:53

They just wanted her to say how talented they were.

0:43:550:43:59

When she went away to study at the National Gallery, she was so happy,

0:43:590:44:05

but they just told her that she was just another pretty face.

0:44:050:44:09

When she came back, something had changed.

0:44:090:44:13

She studied at the National Gallery in Melbourne?

0:44:150:44:18

Miss Mackay's study record.

0:44:230:44:26

-Professor Ross.

-Ah.

0:44:350:44:38

I see the exhibition is staying in Ballarat.

0:44:380:44:41

Yeah. Well, you and Patrick convinced me.

0:44:410:44:43

I'm glad you did.

0:44:430:44:45

Well, you can be confident your paintings will be safe.

0:44:450:44:48

The police have arrested Barry Johnstone.

0:44:500:44:52

-Barry?

-Yes.

0:44:520:44:55

Apparently, there was some conflict

0:44:550:44:57

between Mr Johnstone and the dead girl.

0:44:570:44:59

-Something about damaging an artwork.

-Oh.

0:44:590:45:02

Apparently, the police have uncovered evidence of...

0:45:020:45:06

well, quite a bit of suspect dealing on his part.

0:45:060:45:12

-He's confessed?

-Doesn't have to. The police are very confident.

0:45:120:45:15

Oh, well, that's good news.

0:45:150:45:19

-Too late for that poor girl, though.

-Yes.

0:45:190:45:23

What's he doing?

0:45:230:45:25

Oh, that's my mother's painting. They're bringing it back.

0:45:250:45:29

Well, the opening is tomorrow, Lucien.

0:45:290:45:32

I'll see you there.

0:45:320:45:33

Wow. It's amazing.

0:45:400:45:43

Hmm. Isn't it?

0:45:430:45:47

And he kept it locked all this time?

0:45:470:45:49

Mm. He was just a boy when she died.

0:45:490:45:52

PHONE RINGS

0:45:520:45:54

I'll get it.

0:45:540:45:55

RATTLING

0:46:020:46:04

Trouble finding the light switch, Professor Ross?

0:46:450:46:49

I have made an extremely important discovery.

0:46:490:46:53

There is a David Davies painting hidden under this Ettienne.

0:46:530:46:57

Didn't Virginia Mackay discover that?

0:46:570:47:01

-Who?

-The girl you murdered in the College of the Arts,

0:47:010:47:03

your former student from the National Gallery,

0:47:030:47:06

the one you failed in her second year!

0:47:060:47:08

-I...

-It's your car outside, isn't it, Professor?

0:47:080:47:10

Yes.

0:47:100:47:12

Do you care to explain how you got the bloodstains on the side fender,

0:47:120:47:15

or this?

0:47:150:47:17

I'm guessing it'll test positive for traces of Miss Mackay's blood.

0:47:170:47:21

-Thank you. I'll take that.

-Keep still.

0:47:210:47:24

What's this?

0:47:270:47:29

-Virginia Mackay's gallery keys.

-Charge him.

0:47:290:47:33

Virginia Mackay dead, Ted Baldwin in a coma,

0:47:330:47:36

just so you could own a painting by a famous artist.

0:47:360:47:39

Yes, and look what your mother did to it!

0:47:390:47:42

She was a nobody!

0:47:420:47:44

That what you called all your female students?

0:47:470:47:52

You do realise you're not the actual owner of that?

0:47:520:47:54

Patrick.

0:47:580:48:00

May I? Thank you.

0:48:040:48:06

Cheers.

0:48:090:48:10

Oh.

0:48:130:48:15

How is it?

0:48:150:48:17

Surprising.

0:48:180:48:20

This is about that painting, isn't it?

0:48:220:48:24

Yes. Yes, it is.

0:48:260:48:27

-Go on...

-Well, we have something of a dilemma here.

0:48:270:48:32

As you know, my mother's painting

0:48:320:48:34

was gifted to the Ballarat Art Gallery by my father.

0:48:340:48:37

-Now, it seems the painting has...

-Fallen into disrepute.

0:48:370:48:42

..fallen out of favour.

0:48:420:48:44

Look, they own it. They don't want it.

0:48:440:48:48

I do. Now, you're the chair of the gallery board.

0:48:480:48:54

I'd like you to gift it back.

0:48:540:48:57

Unfortunately, the situation is a little more complex than that.

0:48:570:49:02

The painting underneath your mother's painting

0:49:020:49:05

was sold to my father.

0:49:050:49:09

I actually still have the bill of sale.

0:49:090:49:11

You do?

0:49:110:49:13

When he came to collect...

0:49:140:49:17

And the painting disappeared...my father didn't give the money back.

0:49:170:49:23

Your mother died.

0:49:240:49:26

My mother thought it would be cruel to insist.

0:49:260:49:30

Of course.

0:49:300:49:31

Oh, Patrick, I had no idea.

0:49:330:49:35

So, obviously, you're claiming ownership of the painting.

0:49:370:49:42

Is that right?

0:49:420:49:44

-Is that it?

-Yes, indeed. That's it.

0:49:480:49:52

So, what did Patrick say?

0:49:520:49:54

Well, he wanted to ask my advice, in regard to his children.

0:49:540:49:59

-You?

-I know.

0:49:590:50:01

Lucien, it's lovely.

0:50:010:50:03

You're just saying that.

0:50:030:50:05

No. It is beautiful. Your mother must've been quite some woman.

0:50:050:50:11

Yes. Yes, she was.

0:50:110:50:16

Now, if you'll excuse me.

0:50:160:50:17

When a life model is found murdered at the start of a painting class, Dr Blake is drawn into a difficult and troubling investigation. He is consequently forced to confront his own family's past and his mother's history as an artist.


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